British lyric-coloratura soprano Robyn Allegra Parton is described by Opera magazine as ‘stylish, dynamic and irresistible’, and ‘Captivating. Astonishing. Overwhelming.’ by Opernwelt.
Equally at home in both classical and contemporary opera, Robyn made her professional debuts in 2015 at the Royal Opera House, Covent Garden singing Barbarina in David McVicar’s production of Mozart’s Le Nozze di Figaro, and Peg in the world premiere of The Virtues of Things by Matt Rogers.
Following her early training in historical performance practice with conductor Sir John Eliot Gardiner, Robyn played a small role in Monterverdi’s Orfeo for the Bayerische Staatsoper in 2015 with conductor Ivor Bolton and director David Bösch. In 2016, Robyn was awarded a prize by the Cesti Vocal Competition to sing the role of Clelia in Octavia by Reinhard Keiser for the Innsbrucker Festwochen der Alten Musik, conducted by Jörg Halubek.
A keen interpreter of Mozart, Robyn has performed the roles of Susanna, Zerlina, Pamina and, more recently Konstanze, Donna Anna and the Queen of the Night. Robyn also had the chance to perform extracts from Mozart’s operas in Peter Schaffer’s play Amadeus for the National Theatre, London in 2017.
Robyn received great critical acclaim for her performances as Zerbinetta in Ariadne auf Naxos by Richard Strauss for Longborough Festival Opera in 2018. Exploration into german romantic repertoire continued with Helmwige in Wagner’s Die Walküre at Teatro di San Carlo, Naples, with conductor Juraj Valcuha in 2019.
In 2020, as her first role under a new full-time contract with the Theater für Niedersachsen, Robyn performed Amelia in Mercadante’s 1836 belcanto opera I Briganti to critical acclaim. This was followed by a similarly highly-praised Violetta in La Traviata by Verdi, and the title role in Giovanni Pacini’s 1843 Medea. Robyn has sung in concert with the TfN orchestra arias from Donizetti’s Lucia di Lammermoor, Puccini’s Gianni Schicchi, and later this season she will sing Micaela in Bizet’s Carmen. A return to Longborough Festival Opera as Adina in Donizetti’s L’Elisir d’amore has been postponed due to the Covid-19 pandemic.
Cultivating a love for contemporary opera, Robyn created the roles of Agnes in Nothing by David Bruce for Glyndebourne Festival Opera and the Narrator in The Sea-Crossed Fisherman by Michael Ellison for the Istanbul Music Festival in 2016.
In 2018, Robyn returned to the Royal Opera House, Covent Garden to sing the title role in Coraline by Mark-Anthony Turnage, a part she would reprise in Swedish for the Folkoperan, Stockholm. For this latter performance, Robyn was awarded the ‘Friends of Folkoperan 2021 Soloist Award‘. In 2019, Robyn took over the part of Jen in Philip Venables’ acclaimed 4.48 Psychosis at the Opèra National du Rhin, returning to it once more in 2021 at the Philharmonie de Paris with Ensemble Intercontemporain, conducted by Matthias Pintscher.
Further contemporary opera has included a vocal ensemble role in Heart Chamber by Chaya Czernowin for Deutsche Oper Berlin and the part of Victoria in Jules Maxwell’s The Lost Thing for the Linbury Theatre at the Royal Opera House, Covent Garden.
As a concert artist Robyn has performed with ensembles including the Leipzig Gewandhaus, Gustav Mahler Chamber Orchestra, London Philharmonic, Royal Philharmonic, Orchestra of the Age of Enlightenment, English Baroque Soloists, Scottish Chamber Orchestra, Luxembourg Philharmonie and the Royal Oman Symphony Orchestra.
Robyn has recorded the title role in Charpentier’s Caecilia Virgo et Martyr for Novum, songs by Stephen Dodgson for Toccata Classics and the roles of Alice and Lucy in Stephen Dodgson’s Margaret Catchpole for Naxos.
In 2022, Robyn will release her debut solo album, featuring songs from the Viennese Secession with pianist Simon Lepper.
Violetta, La Traviata, Giuseppe Verdi, Theater für Niedersachsen, June 2021
“Robyn Allegra Parton, since the start of this season member of the ensemble of the Theatre for Lower Saxony, is Violetta one and Violetta two (as well as the private British soprano herself, Robyn Allegra Parton, who looks gravely into the camera through video projection). And she’s quite amazing. Captivating. Astonishing. Overwhelming. Not only vocally, which in itself is a tour de force, since the orchestra sound comes from speakers (the choir and orchestra, previously recorded separately in the rehearsal hall under the direction of GMD Florian Ziemen, are played with a time delay during the evening), but also and above all in terms of performance. We see a seductress of high grace whirling across designer Telse Hand’s stage garnished with movable blocks; a woman who conveys with bursting vitality and credibility just about all the emotional states to which her two wayward identities are exposed. This Violetta is strong, stubborn, unruly; where necessary she shows her claws and the male world its limits. But that is only one side. Whenever she sits down (and literally so) at the edge of the pit or steps up to the piano to accompany herself, we experience her highly injured, tender, melancholic nature, which so obviously suffers; and this suffering – not only in the F minor andantino “Ah fors’ è lui” – is dressed in the most precious pianissimo tones.”
Opernwelt Magazine August 2021
Zerbinetta, Ariadne auf Naxos, Richard Strauss, Longborough Festival Opera, July 2018
“The singers are out of the ordinary: Robyn Allegra Parton as Zerbinetta, every note in place.”
The Sunday Times
“sweetly, seductively brilliant”
“Zerbinetta’s “Grossmächtige Prinzessin” is so stunningly dispatched by Robyn Allegra Parton
that one wouldn’t shorten it by a single quaver”
The Arts Desk
Ah fors’è lui – Violetta, La Traviata, Verdi
Addio del passato – Violetta, La Traviata, Verdi
Regnava nel silenzio – Lucia, Lucia di Lammermoor, Donizetti
Quando, guerrier mio splendido – Amelia, I Briganti, Mercadante
Theater für Niedersachsen
Violetta, La Traviata, Giuseppe Verdi
Medea, Medea, Giovanni Pacini
Adele, Die Fledermaus, J Strauss
Michaela, Carmen, Georges Bizet
Princess, Aladdin, Nino Rota
Cora, The Postman Always Calls Twice, Stephen Paulus
16 December 2021
Philharmonie de Paris, France
Jen, 4.48 Psychosis, Philip Venables
“Zerlina’s emergence as a force to reckon with intrigued and delighted me”