Elliot Madore

Elliot Madore

Vocalists — Baritone

“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

“The baritone Elliot Madore sang Figaro with solidity and plenty of swagger...” —James Oestreich, New York Times, December 17, 2015 - Figaro in 'The Barber of Seville' at the Metropolitan 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 . . .

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    • Photo:  Kristin Hoebermann
      Photo: Kristin Hoebermann
    • Photo:  Kristin Hoebermann
      Photo: Kristin Hoebermann
    • Photo:  Eric Woolsey
      Photo: Eric Woolsey

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