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. For the 2022-2023 season, Robyn joins the solo-ensemble of Theater Münster in Germany.
Her roles include Violetta, Gilda, Micaëla, Adina, Donna Anna, Konstanze, Königin der Nacht, Zerbinetta, Adele, Morgana, Medea (Pacini), Amalia (I Briganti – Mercadante), Thamar (Leben des Orest – Krenek), 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. At Theater Münster Robyn will create the role of Rita in Great Open Eyes by composer Manuel Zwerger, based on Ibsen’s play Little Eyolf.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.
“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.”
Jürgen Gahre Opera Now Magazine May 2022
“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.”
Jürgen Otten Opernwelt Magazine August 2021
Thamar, Leben des Orest, Ernst Krenek
Fünfte Magd, Elektra, Richard Strauss
Gilda, Rigoletto, Giuseppe Verdi
Rita, Great Open Eyes, Manuel Zwerger