Manager: Damon Bristo
Management Territory: Worldwide
"The evening got a terrific lift from baritone Elliot Madore, whose honeyed timbre and delectable, spontaneous phrasing made every word register. His colorful singing would alone make a great reason to catch the remaining performances Friday and Saturday. On Thursday, Madore reached quite a peak of tonal sexiness in 'Omnia sol temperat' and 'Dies, nox et omnia'; he proved equally effective articulating the ramblings of a drunken cleric in 'Ego sum abbas." Tim Smith, Baltimore Sun, September 30, 2016 - 'Carmina burana' with Baltimore Symphony and Marin Alsop
“His Mercutio further demonstrates the versatility and deep talent of this rising opera star.” OperaWarhorses, July 29, 2016 - Mercutio in 'Roméo et Juliette' at Santa Fe Opera
“Elliot Madore as Pelléas not only has movie star quality, but lets his virile sound shine…Madore takes his high notes deliberately into the drama and makes it clear that this is a Pelléas of substance.” Markus Thiel, Merkur, July 1, 2015 - Pelléas in 'Pelléas et Melisande' at Bayerische Staatsoper
“The confrontation with the stone guest also put the cap on a splendidly credible performance of the title role by the Canadian baritone Elliot Madore, who looks the part, magnificently so in his final defiance, and who sang throughout with considerable style and nuance.' Martin Kettle, The Guardian, June 8, 2014 - Title role in 'Don Giovanni' at Glyndebourne
“Mr. Madore underplayed the darker moments of both cycles in masterly fashion. In the first song of the Mahler, “Wenn mein Schatz Hochzeit Macht,” the pain of the line “Weep, weep for my darling, for my dear darling,” was all the more intense for the reserve with which he handled both repetitions… he sang with exciting confidence and detail, delivering Poulenc’s elegantly bleak “Sanglots” with subtlety and concentration. He lingered for the slightest extra moment on the vowel in the last word of the Mahler cycle — “Traum” (“Dream”) — capturing in an instant the song’s melancholy beauty and showing the instincts and training of an exceptional recitalist…the evening was Mr. Madore’s.” Zachary Woolfe, New York Times, January 17, 2012 - Carnegie Hall recital debut with the Marilyn Horne Foundation
A winner of the Metropolitan Opera National Council Auditions, Canadian baritone Elliot Madore is already gaining international notoriety for his exceptional voice and artistry.
This season, he returns to the Metropolitan Opera as Mercutio in the new production of Roméo et Juliette conducted by Gianandrea Noseda. He will also sing Pelléas in Pelléas et Melisande with Franz Welser-Möst and the Cleveland Orchestra in a fully-staged production by Yuval Sharon, as well as at Opéra-Théâtre de Limoges and with the Sydney Symphony Orchestra under Charles Dutoit. He will make . . . his Florida Grand Opera debut as Reinaldo Arenas in Jorge Martin’s Before Night Falls and returns with William Christie and Les Arts Florissants to sing Rameau’s Les Indes galantes in Luxembourg. In concert, he will make his Baltimore Symphony debut with Marin Alsop in Carmina burana and sing recitals in New York, Winnipeg, and Philadelphia.
Elliot Madore returned to the Metropolitan Opera as Figaro in The Barber of Seville in the 2015-2016 season. He also made his San Francisco Opera debut as Anthony in Sweeney Todd and returned to the Bayerische Staatsoper as Harlekin in Ariadne auf Naxos under music director Kirill Petrenko with performances in Munich and at the Théâtre des Champs-Elysées in Paris. He debuted at Lyric Opera of Kansas City as Belcore in L’elisir d’amore and at Santa Fe Opera as Mercutio in a new production of Roméo et Juliette conducted by Harry Bicket. Mr. Madore was also heard in concert with Charles Dutoit and Orchestre de la Suisse Romande in L’heure espagnole and L’enfant et les sortilèges.
Mr. Madore made his Bayerische Staatsoper debut as Pelléas in a new production of Pelléas et Melisande, a role he debuted at the Croatian National Opera in Stéphane Braunschweig’s production. He also debuted at the Dutch National Opera as Prince Hérisson de Porc-Epic in Laurent Pelly’s new production of Chabrier’s L’étoile which was recorded for DVD. He returned to Opernhaus Zurich as Harlekin in Ariadne auf Naxos under Fabio Luisi and opened the new Philharmonie Hall in Paris with Les Arts Florissants as Adario in Rameau’s Les Indes galantes. He was heard in recital with the Cleveland Art Song Festival and with Music Toronto, which was broadcast on the CBC, as well as debuted with the Houston Symphony Orchestra in Carmina Burana with music director Andrés Orozco-Estrada.
He made his European operatic debut at the Glyndebourne Festival in a new production of L’heure espagnole as Ramiro and L’enfant et les sortilèges as The Cat/Grandfather Clock directed by Laurent Pelly and conducted by Kazushi Ono. He was also seen in this same Ravel double-bill at the Saito Kinen Festival conducted by Seiji Ozawa and directed by Laurent Pelly. He recently returned to the Glyndebourne Festival as the title role in Mozart’s Don Giovanni, a role he also sang at Opera Philadelphia and Opera Theatre of Saint Louis. Mr. Madore made his Metropolitan Opera mainstage debut as Lysander in their original baroque fantasy The Enchanted Island conducted by William Christie, as well as singing the Novice’s Friend in Billy Budd as a member of Lindemann Young Artist Development Program. A recent member of the ensemble at Opernhaus Zürich, he was seen as Valentin in a new production of Faust, Guglielmo in Così fan tutte under Tomas Netopil, Schaunard in La bohème conducted by Nello Santi, Andrei a new production of Peter Eötvös’s Three Sisters, Silvio in Pagliacci, Silvano in Un ballo in maschera and Germano in La scala di seta.
Mr. Madore made his Carnegie Hall recital debut at Weill Recital Hall as part of Marilyn Horne’s The Song Continues… series and performed a solo concert with the Edmonton Symphony in a program of opera arias and Lieder. His Canadian recital debut took place at the National Arts Centre in Canada which was recorded and broadcast on the CBC Radio Two’s "Next! Canada's Music Future" Series. In the summer of 2011, he was a member of the Salzburg Festival’s Young Singers Project where he covered the title role in Don Giovanni and Guglielmo in Così fan tutte. He also made his Salzburg Festival debut as the Japanese Envoy in concert performances of Stravinsky’s Le rossignol with Ivor Bolton and Mozarteumorchester Salzburg. At the Tanglewood Festival, Mr. Madore has been seen as Harlekin and the Music Master in Ariadne auf Naxos under the baton of Christoph von Dohnányi and the title role of Don Giovanni under James Levine.
In addition to the Metropolitan Opera National Council Auditions, Mr. Madore was the recipient of the 2010 George London Award for a Canadian Singer from the George London Foundation, a finalist in the 2010 Eleanor McCollum Competition for Young Singers in Houston and the recipient of the ARIAS Emerging Young Artist Award from Opera Canada. He was also the winner of the 2009 Palm Beach Vocal Competition. Elliot Madore is a graduate of the Curtis Institute of Music where he studied with Marlena Malas.
(Updated February 2017)