About
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. As a lyric-coloratura soprano described as “Captivating. Astonishing. Overwhelming” (Opernwelt Magazine), 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, Istanbul Music Festival, and the Innsbruck Festival for Early Music.
Robyn’s 2024-25 season commences with a house debut at the English National Opera as Gilda in Rigoletto. She returns to the solo-ensemble Theater Münster in Germany, where she sings Vixen in The Cunning Little Vixen, Musetta in La bohème, Micaëla in Carmen, Isifile in Il Giasone (Cavalli), and concert performances of Beethoven’s Ninth Symphony.
She has enjoyed recent success in a number of role debuts. Last season, Robyn debuted as the title role in IF Opera’s production of Lucia di Lammermoor and Servilia in Gluck’s La Clemenza di Tito at the Markgräfliches Opernhaus, Bayreuth for the Gluck Festspiele 2024. She also returned to the Royal Opera House to cover the role of Gilda in Rigoletto both in the main season and on their tour of Japan.
Her roles include Violetta, Gilda, Micaëla, Adina, Donna Anna, Konstanze, Zerbinetta, Adele, Morgana, Medea (Pacini), Amalia (I Briganti – Mercadante), Amélite (Zoroastre – Rameau), Thamar (Leben des Orest – Krenek), and Clelia (Octavia – Keiser), a role awarded by the Cesti International Vocal Competition.
Contemporary 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 created 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’s debut solo album of late-romantic Viennese songs: Burnished Gold, recorded with pianist Simon Lepper for Orchid Classics, debuted at No. 9 in the UK Official Specialist Classical Chart in June 2023. She has also recorded Charpentier’s Caecilia Virgo et Martyr for Novum, songs by Stephen Dodgson for Toccata Classics, and Alice and Lucy in Margaret Catchpole by Stephen Dodgson for Naxos.
Biography by Isabella Pitman
“”
Lucia di Lammermoor, If Opera, August 2024
“a performance of great beauty”
Jonathan Cross
Opera November 2024
“it is the quality of the performance of Lucia sung by Robyn Allegra Parton that is vital, and we have a thrilling and edge of seats engaging soprano who seemed remarkably at ease with one of opera’s most challenging roles.
This is a performer who can deliver with security at the high notes, thrill with the ornate trills and pyrotechnics demanded from the role, and still also prove dramatically convincing”
Opera Scene August 2024
“”
Gilda, Rigoletto, Theater Münster, February 2023
“Musikalisch überzeugt vieles, vor allem Robyn Allegra Parton, die Gilda ein unschuldiges Leuchten verleiht.”
Edda Breski
Westfällischer Anzeiger February 2023
“schimmernde Sopran-Kadenzen”
Harald Suerland
Westfällische Nachrichten February 2023
“”
“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 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 August 2021
“”
Amelia, I Briganti, Saverio Mercadante, Theater für Niedersachsen, September 2020
“Robyn Allegra Parton was ravishing in the part, which she crowned with some soaring high notes in her Act 3 prayer.”
Carlos Maria Solare
Opera November 2020
“”
Hugh Canning
The Sunday Times
“sweetly, seductively brilliant”
Richard Bratby
The Spectator
“Zerbinetta’s “Grossmächtige Prinzessin” is so stunningly dispatched by Robyn Allegra Parton
that one wouldn’t shorten it by a single quaver”
Stephen Walsh
The Arts Desk
Media
Schedule
2024
IF Opera
Belcombe Court
BA15 1LZ
Lucia, Lucia di Lammermoor, Donizetti
Aug 2024: 23, 27, 29, 31
2024
English National Opera
The London Colisseum
Gilda, Rigoletto, Verdi
Oct 2024: 30
Nov 2024: 2, 7, 9, 14, 16, 19, 21
2024/2025
Theater Münster
Münster, Deutschland
Soprano, Ninth Symphony, Beethoven
Sep 2024: 10, 11, 15
Musetta, La Boheme, Puccini
Dec 2024: 14, 18, 27
Jan 2025: 11, 16, 26
Feb 2025: 16
Mar 2025: 7, 15, 30
Micaela, Carmen, Bizet
Feb 2025: 28
Mar 2025: 12
Apr 2025: 15
May 2025: 9
Bystrouška, Příhody lišky Bystroušky, Janacek
Apr 2025: 12, 17, 27
May 2025: 30
Jun 2025: 11, 21, 28
Jul 2025: 5
Isifile, Giasone, Cavalli
May 2025: 31
Jun 2025: 5, 15, 19, 29
Jul 2025: 1, 12
“”
Burnished Gold, June 2023
“It is refreshing to encounter a singer – Robyn Allegra Parton – whose gifts of curation are it would seem equal to her musicianship.
The silvery quality of her voice coupled with the reach and seductiveness of its coloratura facility potentially lends itself to music centuries apart. There is, too, a curiosity, an inquisitiveness, in her response to these songs – why the notes are where they are in the first place and how they serve and communicate the poetry.”
Edward Seckerson
Gramophone, September 2023
“The heart of the album is the Seven Early Songs of Alban Berg, performed here with dazzling grace, pathos and imagination.“
Natascha Loges
BBC Music Magazine, September 2023
“Die Britische Sopranistin singt die Marx’schen Piecen mit silbriger, fein ziselierter, sensibel schattierte Stimme und einer sehr gut ausbalancierten pianopianissimo-Kultur.
[Mit Richard Strauss] kann Robyn Allegra Parton ihr erkleckliches gestalterisches Potenzial, ihre ausgewiesene Musikalität ausspielen.”
Jürgen Otten
Opernwelt, September 2023
Recordings
Burnished Gold
Robyn Allegra Parton, Simon Lepper
Charpentier: Music Sacree
Choir of New College Oxford, Oxford Baroque, Edward Higginbottom
Gallery
AGENT
Robyn is represented by Isabella Pitman at IMG Artists
ipitman@imgartists.com
Photography by Victoria Cadisch
Contact
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