top of page

© Grzegorz Monkiewicz

Adrian Thompson


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 2023-24 season include returns to Grange Park Opera as Tichon Katja Kabanova and Trinculo in the world premiere of Antony Bolton’s Island of Dreams directed by David Pountney. Future plans include a return to the Royal Opera House, Covent Garden.

View and download full biography

Artist Manager

Camilla Wehmeyer


Mary Donald

Anchor 1


Peter Hoare and Adrian Thompson perform at Grange Park Opera

Broucek Grange.jpg

Posted 07/06/2021.

Peter Hoare makes his debut in the lead role as Mr Brouček and fellow tenor, Adrian Thompson, takes on the roles of Spoteck, Vojta, Raincek and Mirosla in Leoš Janáček's The Excursions of Mr Brouček at Grange Park Opera. David Pountney directs Janáček’s warm comedy of errors about a bourgeois landlord who gripes at the whole world and drowns his life in a glass of beer. Performed in English, the opera is conducted by George Jackson and other members of the cast include Fflur Wyn, Mark le Brocq, Andrew Shore, Clive Bayley and Anne-Marie Owens. The production opens on 9 June, with further performances on 18, 26, 29 June and 7 July.

Forthcoming highlights for Peter in the 2022-23 season include Steuermann Der Fliegende Hollander and Pong Turandot for the Hamburg State Opera and Governor Candide for the Opera de Lyon.

Adrian will be devoting much of his time to teaching as Professor of Vocal Studies at the Guildhall School of Music and Drama.

For more information on the production, visit the Grange Park Opera website here.

MOZART, W.A. 🎭 The Magic Flute (Act 2) Convent Garden/ Sir Colin Davis, 2003

MOZART, W.A. 🎭 The Magic Flute (Act 2) Convent Garden/ Sir Colin Davis, 2003

Dear YouTubers, click the button for subtitles. Soon, I will be setting the subtitles times. Thank You "THE RAYS OF THE SUN CHASE THE NIGHT, DESTROYING THE POWER OF THE IMPOSTORS." (Sarastros Air) WOLFGANG_AMADEUS_MOZART [*27 January 1756 ~5 December 1791] #Die_Zauberflöte, K.620 (The Magic Flute) Opera in Two Acts, 1791 Premiere: 1791-09-30 in Vienna: Theater auf der Wieden, #Wolfgang_Amadeus_Mozart (Conductor) Libretist: Emanuel Schikaneder [*1 September 1751 ~21 September 1812]] ACT II 00:09, 09. Marsch der Priester 06:20, 10. Aria - Sarastro: "O Isis und Osiris" 11:32, 11. Duet: "Bewahret euch vor Weibertücken" (Beware women's artfulness) 12:54, 12. Quintet: "Wie? Ihr an diesem Schreckensort?" (How? You in this place of horror?) 16:53, 13. Aria - Monostatos: "Alles fühlt der Liebe Freuden" (All feel the joy of love) 20:26,14. Aria - Queen of the Night: "Der Hölle Rache kocht in meinem Herzen" (Hells Revenge cooks in my heart) 25:18, 15. Aria - Sarastro: "In diesen heil’gen Hallen" (Within these hallowed halls) 33:05, 16. Trio - 3 Spirits: "Seid uns zum zweitenmal willkommen" (Be welcome for the second time) 36:08, 17. Aria - Pamina: "Ach, ich fühls, es ist verschwunden" (Ah, I feel it, it has disappeared) 41:07, 18. Chor der Priester: "O Isis und Osiris, welche Wonne!" (O Isis and Osiris, What Bliss!) 44:50, 19. Trio - Pamina, Sarastro, Tamino: "Soll ich dich, Theurer, nicht mehr seh’n?" (May I, dear one, never see you again?) 50:33, 20. Aria - Papageno: "Ein Mädchen oder Weibchen" (A girl or a little wife) 21. Choir - Finale II: a. Aria (Papageno): "Bald prangt den Morgen zu verkünden" b. Quartetto c. Geharnischte Männer und Tamino d. Duett, Quartetto e. Marsch f. Arie (Papageno) g. Duett (Papageno/Papagena) h. Quintetto i. Chorus PERFORMERS: Tamino (tenor) Will Hartmann; Pamina (soprano) Dorothea Röschmann Queen of the Night (soprano) Diane Damrau Sarastro (bass) Franz-Josef Selig Papageno (baritone) Simon Keenlyside; Papagena (soprano) Ailish Tynan Monostatos (tenor) Adrian Thompson First Lady (soprano) Gillian Webster: Second Lady (mezzo-soprano) Christine Rice; Third Lady (mezzo-soprano) Yvonne Howard Speaker of the Temple (baritone) Thomas Allen First Priest (tenor) Matthew Beale; Second Priest (bass) Richard Van Allan First Man in Armour (baritone) Alan Oke; Second Man in Armour (bass) Graeme Broadbent First Boy Zico Shaker; Second Boy Tom Chapman; Third Boy John Holland-Avery The Royal Opera Chorus/Terry Edwards The Orchestra of the Royal Opera House, Covent Garden, Directed by Sir Colin Davis Filmed at #The_Royal_Opera_House_🎼 Covent Garden, London on 27th January 2003 DISCLAIMER: The video published in our channel is exclusively dedicated to divulgation purposes and NOT COMMERCIAL, and We do not take any credit from it. No infringement of copyright is meant and if it does infringe, please message us. Thank You 🎶


Repertoire Includes



St John Passion
St Matthew Passion


Symphony No. 9


Te Deum


Winter Words
Spring Symphony
War Requiem


Dream Of Gerontius
The Apostles
The Kingdom


Glagolitic Mass
The Eternal Gospel


Paroles Tiseés


Das Lied Von Der Erde




Die Schöne Müllerin


The Curlew



Albert Herring (Mr Upfold)

Billy Budd (Red Whiskers)

Peter Grimes (Rev. Adams)

A Midsummer Night’s Dream (Snout)

Owen Wingrave (Sir Phillip Wingrave)

Death in Venice (Aschenbach)



Simplicius Simplicissimus (Hermit)



Hänsel und Gretel (Witch)



From the House of the Dead (Shapkin / Old Prisoner)

Macropoulos Case (Vitek / Hauk)



Il ritorno d'Ulisse in patria (Iro / Eumete)



Le nozze di Figaro (Basilio / Don Curzio)

Die Zauberflöte (Monostatos)



Khovanshchina (Scribe)



Turandot (Emperor Altoum)

Madama Butterfly (Goro)

Gianni Schicchi (Gherado)



Lady Macbeth of Mtsensk (Drunk Peasant)



The Rake’s Progress (Sellem, auctioneer)


The Weekend (Stephen)


STRAUSS, R.                             

Salome (Herod / 1st Jew)

Die Fledermaus (Blind, a lawyer)


RIMSKY KORSAKOV                           

Maid of Pskov (Boyar Nikita Matuta)



Eugene Onegin (Triquet)



Das Rheingold (Mime)

Siegfried (Mime)





"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)



"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)