British lyric-coloratura soprano Robyn Allegra Parton is described by Opera magazine as ‘stylish, dynamic and irresistible’, and ‘Captivating. Astonishing. Overwhelming.’ by Opernwelt.
Robyn Allegra Parton made her operatic debut at the Royal Opera House as Barbarina in Le Nozze di Figaro in 2015. She has since returned to the Royal Opera, and performed throughout Europe, including at Teatro di San Carlo Naples, Deutsche Oper Berlin, Opéra National du Rhin, Folkoperan Stockholm, Glyndebourne Festival, Longborough Festival, Theater für Niedersachsen, Istanbul Music Festival, and the Innsbruck Festival for Early Music. Since the onset of the Covid-19 pandemic, Robyn has been employed in the solo-ensemble of the Theater für Niedersachsen in Germany.
Her roles include Violetta, Micaëla, Adina, Donna Anna, Konstanze, Königin der Nacht, Zerbinetta, Adele, Morgana, Medea (Pacini), Amalia (I Briganti – Mercadante) and Clelia (Octavia – Keiser), a role awarded by the Cesti International Vocal Competition.
Comtemporary roles include the title role in Coraline by Mark-Anthony Turnage for Royal Opera: Linbury and Folkoperan Stockholm for which she was awarded the Friends of Folkoperan Stockholm’s 2021 Soloist Award, Agnes in Nothing by David Bruce for Glyndebourne Festival Opera, the Narrator in The Sea-Crossed Fisherman by Michael Ellison for the Istanbul Music Festival, Jen in Philip Venables’ 4.48 Psychosis at the Opèra National du Rhin and Philharmonie de Paris, Peg in Matt Roger’s The Virtue of Things for Royal Opera: Linbury, Covent Garden, Victoria in Jules Maxwell’s The Lost Thing for Royal Opera: Linbury, Covent Garden, and a vocal ensemble role in Heart Chamber by Chaya Czernowin for Deutsche Oper Berlin.
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 Charpentier’s Caecilia Virgo et Martyr for Novum, songs by Stephen Dodgson for Toccata Classics, Alice and Lucy in Margaret Catchpole by Stephen Dodgson for Naxos, and her debut solo album featuring songs from the Viennese Secession recorded with pianist Simon Lepper will be released later this year.
Medea, Giovanni Pacini, Theater für Niedersachsen, March 2022
“Robyn Allegra Parton is sensational in the title role. The young Briton, who has already appeared in small roles at the ROH and belongs now to the ensemble of the TFN, is an overwhelming Medea, who finds the right expression for her despair and her vengeance and arouses our compassion. A great career is surely in store for this fine artist.”
Opera Now Magazine May 2022
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
Großmächtige Prinzessin – Zerbinetta, Ariadne auf Naxos, R Strauss
Theater für Niedersachsen
Violetta, La Traviata, Giuseppe Verdi
Medea, Medea, Giovanni Pacini
Adele, Die Fledermaus, J Strauss
Königin der Nacht, Die Zauberflöte, Mozart
Micaëla, Carmen, Georges Bizet
Principessa, Aladin, Nino Rota
Violet Grey, The Belle of New York, Gustave Kerker
16 December 2021
Philharmonie de Paris, France
Jen, 4.48 Psychosis, Philip Venables
23 April 2022
Schola Cantorum of Oxford
Instruments of Time and Truth
Oxford Town Hall, UK
Soprano 1, B Minor Mass, JS Bach
16 July 2022
Cheltenham Music Festival
Soprano 3, Symphony of a Thousand, Gustav Mahler
“Zerlina’s emergence as a force to reckon with intrigued and delighted me”