© Grzegorz Monkiewicz
Adrian is one of Britain’s leading operatic character tenors, long established on the stages of Covent Garden, Glyndebourne, English National Opera, Welsh National Opera and Garsington Festival. Internationally, his guest appearances have included Snout A Midsummer Night’s Dream for Teatro alla Scala, Albert Gregor The Makropoulos Case for Opera Zuid and Cologne Opera, title role Peter Grimes, Skuratov From The House Of The Dead and Canio Il Pagliacci for Oper Frankfurt and The Diary of one who Disappeared for La Monnaie and the Aix en Provence Festival, and Emperor Turandot for Canadian Opera Company. Adrian received extraordinary critical acclaim for his February 2020 performance as Mime Siegfried in the London Philharmonic Orchestra’s Ring Cycle conducted by Vladimir Jurowski. Highlights of the 2021-22 season include Scott Stroman's new comic opera The Weekend at London's Bloomsbury Theatre and a return to Grange Park Opera.
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St John Passion
St Matthew Passion
Symphony No. 9
Dream Of Gerontius
The Eternal Gospel
Das Lied Von Der Erde
Die Schöne Müllerin
Albert Herring (Mr Upfold)
Billy Budd (Red Whiskers)
Peter Grimes (Rev. Adams)
A Midsummer Night’s Dream (Snout)
Simplicius Simplicissimus (Hermit)
Hansel Und Gretel (Witch)
From The House Of The Dead (Shapkin)
Macropoulos Case (Vitek)
Il Ritorno D'ulisse In Patria (Iro)
Le Nozze Di Figaro (Basilio)
Die Zauberflöte (Monostatos)
Turandot (Emperor Altoum)
Madama Butterfly (Goro)
Lady Macbeth Of Mtsensk (Drunk Peasant)
The Weekend (Stephen)
Salome (Herod, 1st Jew)
Maid Of Pskov (Boyar Nikita Matuta)
Eugene Onegin (Triquet)
Das Rheingold (Mime)
The complete solo folksong arrangements with Adrian Thompson (tenor), Marcus Farnsworth (baritone) and John Talbot (piano). BRITISH MUSIC SOCIETY (2011)
Cast includes Adrian Thompson, Judith Gauthier, Marianne Beate Kielland with Cappella Amsterdam, the Estonian Philharmonic Chamber Choir and the Estonian National Symphony Orchestra conducted by Daniel Reuss HARMONIA MUNDI (2010)
Solo song recital with Adrian Thompson and the Czech Philharmonic Orchestra conducted by Ronald Zollmann NEOS (2006)
Cast includes Adrian Thompson, Stephan Loges, Roderick Williams, Sarah Connolly with Sinfonia Chorus and Northern Sinfonia conducted by Richard Hickox CHANDOS (2000)
Cast includes Adrian Thompson, Gerald Finley, Susan Gritton, Rebecca Evans, Anne Marie Owens with the orchestra and chorus of the Royal Opera House, Covent Garden conducted by Richard Hickox CHANDOS (1997)
Scott Stroman THE WEEKEND / BLOOMSBURY THEATRE
"Adrian Thompson is cast perfectly as Stephen (well, he should be - the part was written for him) all pent-up rage, long-festered guilt and male petulance. You really do fear that he might burst a blood vessel!"
Gary Naylor, Broadway World (September 2021)
Rimsky-Korsakov IVAN THE TERRIBLE / GRANGE PARK OPERA
"Adrian Thompson as Matuta managed to bring a wonderful level of malevolent nastiness into each of his short scenes."
Robert Hugill, Opera Today (June 2021)
"Adrian Thompson makes a vivid cameo, as the “evil” boyar, Matuta, who seeks Olga’s hand in marriage"
Hugh Canning, The Times (June 2021)
Wagner SIEGFRIED / London Philharmonic (Cond. Jurowski)
"Adrian Thompson's engagingly characterful Mime dominated the first half"
Financial Times, Richard Fairman (February 2020)
"Adrian Thompson's funny yet dangerous Mime was all obsessive hatred, self-loathing and manipulative malice"
The Guardian, Tim Ashley (February 2020)
"...literally dwarfed by the Mime of Adrian Thompson, who projected his part with enough animation for an army of Nibelungs"
Evening Standard, Barry Millington (February 2020)
"Adrian Thompson's mincing, mocking Mime, one of those 110 per cent performances destined to stay in the memory"
The Times, Geoff Brown (February 2020)
“I'm not sure I have seen any singer in a concert performance bring such energy and sheer range to the character he is portraying. Thompson's skill isn't to make us entirely forget that Mime is fundamentally evil - though perhaps, we got rather more deviousness than outright evil on this occasion. Thompson doesn't exactly skimp on the comedic elements of Mime, however. His constant whinging that he cannot forge a new sword from the smashed fragments of Notung, his howls tempered with groans are all emphasised...What was also so notable about Thompson's Mime was the quality of the singing. Here we had a tenor with clarion high notes and a solid bottom register - a remarkably complete performance of the role."
Opera Today, Marc Bridle (February 2020)