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Bass-baritone Matthew Burns is celebrated for his musical and comedic capabilities in equal measure. Opera News recently singled out the “vocal and comedic flexibility” in his acclaimed Leporello in Don Giovanni at Detroit Opera. Engagements last season included Beethoven’s Symphony No. 9 with the Delaware Symphony, Sergeant of Police in The Pirates of Penzance with Nashville Opera, Sulpice in La fille du régiment with Utah Opera, and covering Richard in The Hours at The Metropolitan Opera. This season sees him as Bartolo in Le nozze di Figaro with Portland Opera, Leporello in Don Giovanni with Inland Northwest Opera, and a reprisal of his cover of Richard in The Hours with The Metropolitan Opera.

Burns recently made his Seattle Opera debut as Sacristan in Tosca for which the Seattle Times celebrated his “dignified bass-baritone, in counterpoint to his less-than-holy behavior,” which “provides much-needed comic relief.”Other recent enjoyments include the title role in Don Pasquale at Inland Northwest Opera, Don Magnifico in La Cenerentola with Annapolis Opera, Suplice in La fille du régiment with Opera Carolina, Dulcamara in L’elisir d’amore with Virginia Opera, Dansker in Billy Budd with Central City Opera and covering roles in Rigoletto and Die Zauberflöte at the Metropolitan Opera. [read more...]


"... deftly handled the complicated physical comedy, without losing a note or flourish…” – Utah Arts Review

Il barbiere di Siviglia – “Perhaps the biggest laughs were earned by Matthew Burns as Doctor Bartolo, who played the role like a hapless dad in a late 1960s sitcom. He threw himself into his role’s physical comedy while still singing his baritone role with precision and gusto. In this production, he was an optometrist and Rosina was his assistant. At one point Shell decided to have them administer an eye exam to a frightened patient as they argue in recitative, and both deftly handled the complicated physical comedy, without losing a note or flourish.”


"... Burns’ dignified bass-baritone…” – Seattle Times

Tosca – “Debuting in Seattle as the Sacristan, Matthew Burns’ dignified bass-baritone, in counterpoint to his less-than-holy behavior, provides much-needed comic relief.”


"... Seasoned veteran bass-baritone Matthew Burns..." – Opera News

Don Giovanni “the production was brimming with excellent performances . . . Seasoned veteran bass-baritone Matthew Burns brought comedic and vocal flexibility to the workhorse Leporello.”


"... Burns delighted the audience..." – The Virginian-Pilot

L’elisir d’amore – “Likewise, Matthew Burns delighted the audience with his Dr. Dulcamara, the quack who sells Nemorino the elixir of love — which is just cheap wine. Burns' bass-baritone rang out joyfully, and he danced and moved and mugged with a knowing, devilish grace.”


"... A refreshingly human Matthew Burns..." – BachTrack

The Canterville Ghost/Usher House – “A refreshingly human Matthew Burns as the Ghost chewed the scenery just the right amount, and even threw in a ghastly pronunciation of "ghost" of all things.”


"... he led the cast in the comedy..." – Washington Classical Review

A Midsummer Night’s Dream – “Bass-baritone Matthew Burns roared with arrogant bluster as Bottom, the vain know-it-all who leads the “Rude Mechanicals” troupe by bad example. In his movements and overall stage presence, too, he led the cast in the comedy.”


"... Burns was particularly powerful in his upper range..." – Opera News

La mère coupable – “As Bégearss, bass-baritone Matthew Burns was particularly powerful in his upper range and remarkably gripping in his raging moments before his final exit.”


Shawn Marie Jeffery

Vice President | Classical & Creatives

Adrienne Boris

Agent | Classical & Concert

Lisa Bremer 

Operations & Finance Manager

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