ANGUS
WOOD

TENOR

Born in Australia, Angus Wood moved to London at an early age.  He was awarded a singing scholarship to the Royal College of Music, after which he returned to Australia, completing a Bachelor of Music with Honours at the University of Melbourne.  In 1993 Angus was invited to the ‘National Vocal Symposium’, under the tutelage of Ms Malena Malas, Dame Joan Sutherland and Luigi Alva.  He has been a member of both the Victorian State Opera and the Australian Opera young Artist Programs.  Angus was the recipient of the inaugural Silvia Fisher Award and the 2001 Sir Robert Askin Operatic Travelling Scholarship and the German Australian Opera Award in 2006.

Following his debut for Opera Australia in 1993 he sang many of the leading lyric baritone roles for the company, ranging from Papageno in The Magic Flute to Pelléas in Pelléas et MélisandeThe experience of singing Pelléas, a role often sung by a tenor, coupled with the advice and encouragement of Luciano Pavarotti and then Music Director of Opera Australia Simone Young, led Angus to re-study as a tenor enrolling at the University of Michigan, where he also completed his Masters of Music.Since then his roles in Australia and New Zealand have included Jupiter (Semele) for Pinchgut Opera; Cassio (Otello), Aeneas (Dido and Aeneas), and Eisenstein (Die Fledermaus) with Opera Australia; Cavaradossi (Tosca), Pinkerton (Madama Butterfly) and Turiddu (Cavalleria Rusticana) for West Australian OperaAnthony Hope (Sweeney Todd) and The Steuermann (The Flying Dutchman) for State Opera South Australia; Alfredo (La Traviata), Cavaradossi and Edgardo (Lucia di Lammermoor) for Canterbury Opera.

Recently relocated to the United States, Angus has been a resident principal artist at the Hessisches Staatstheater, Wiesbaden, the Anhaltisches Theater in Dessau and from 2011–2015 at the theatre in Heidelberg, where his roles have included Radamès (Aida), Don José (Carmen) and Cavaradossi Gustavo (Un Ballo in Maschera).

Other performances in Europe include Radames (Aida) in Munich, Cavaradossi in Winterthur Switzerland, Pelléas (Pelléas et Mélisande), Der Mann in the world premiere of Johannes Harneit’s  Abends am Fluss and Peter in Haas’ Morgen und Abend, all in Heidelberg as well as The Prince in Rusalka in Bern, Switzerland.

In 2015 Angus returned to Australia to sing Melot in Wagner’s Tristan und Isolde with Sydney Symphony Orchestra and to New Zealand to sing Pinkerton (Madama Butterfly) for NBR New Zealand Opera. Last year he was invited to return to New Zealand Opera to perform the role of Boris in Katya Kabanova in Auckland and Wellington and in 2018 returns to Australia to sing the role of Merlot in Tristan and Isolde for West Australian Symphony Orchestra and Pelléas in Pelléas et Mélisande for Victorian Opera and again in 2019 to perform Cavaradossi for Opera queensland and Pinkerton for State Opera of south Australia.

Equally comfortable on the concert stage, Angus’ concert engagements have includedChekalinsky in Queen of Spades for Sydney Symphony Orchestra, Messiah for Sydney Philharmonia, West Australian Symphony Orchestra and Melbourne Symphony Orchestra, Beethoven’s 9th Symphony for Sydney Philharmonia and Tasmanian Symphony Orchestra, New Year’s concerts with the Australian Pops and Australian Philharmonic Orchestras, Haydn’s Creation in Wiesbaden and a series of Handel concerts for the Australian Brandenburg Orchestra.  Angus also regularly performs in recital, including performances at Government House (Sydney Festival), the Art Gallery of NSW, Melbourne Federation Festival, Opera Under the Stars in Broome and Opera in the Vineyards. 

His portrayal of Boni in The Gypsy Princess for Opera Australia and the Narrator in Il Combattimento di Tancredi e Clorinda were both recognised with nominations as Best Male Singer in a Principal Role, Green Room Awards and Best Male Performer in an Opera at the Helpmann Awards.

Angus Wood is managed by Graham Pushee: [email protected] October 2018

This biography is for general information purposes only and not for publication.
Please contact Arts Management for an up-to-date biography to suit your needs.

PERFORMANCES WITH STATE OPERA SOUTH AUSTRALIA

Pinkerton – Madama Butterfly (2019)

SOCIAL

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Teddy Tahu Rhodes is a latecomer to the stage but he's quickly become a crowd favourite. He performs a recital at the magnificent Adelaide Town Hall this April.

Book now at BASS.

#opera #stateopera #adelaide #operayouknow #southaustralia @adelaidetownhall
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Teddy Tahu Rhodes is a latecomer to the stage but hes quickly become a crowd favourite. He performs a recital at the magnificent Adelaide Town Hall this April. 

Book now at BASS. 

#opera #StateOpera #Adelaide #OperaYouKnow #southaustralia @adelaidetownhall

Adelaide star Desiree Frahn joins our Australian line up for Carmina Burana!

Book now: stateopera.com.au/productions/carmina-burana/

#CarminaBurana #operayouknow #opera #stateopera #stateopera2020 #adelaide #southaustralia Adelaide Symphony Orchestra
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Adelaide star Desiree Frahn joins our Australian line up for Carmina Burana! 

Book now: https://stateopera.com.au/productions/carmina-burana/

#carminaburana #operayouknow #opera #stateopera #stateopera2020 #adelaide #southaustralia Adelaide Symphony Orchestra

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dulcissime

She's fabuloso!

250 voices, the Adelaide Symphony Orchestra, and a stadium crowd. Carmina Burana will blow your mind.

#CarminaBurana #operayouknow #opera #stateopera #stateopera2020 #adelaide #southaustralia @the_aso
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250 voices, the Adelaide Symphony Orchestra, and a stadium crowd. Carmina Burana will blow your mind.

#carminaburana #operayouknow #opera #stateopera #stateopera2020 #adelaide #southaustralia @the_aso

Comment on Facebook

Very droll. Carmina Buranda plays tennis. I've never been to the stadium and the online booking form provides little infor about access. Bass is open only when I am at work. I suspect that unlike a concert hall the easiest access for my lame guest is from the front not the back?

One of Australia’s finest exponents of classical repertoire, Paul McMahon joins us for Carmina Burana in March.

“…Whilst the tenor has only one song (The Ballad of the Roasting Swan), when in the right hands, it can be a vocal tour de force with its plaintive falsetto. And Paul McMahon was truly masterful, delivering with precision and power…” - @limelightmagazine

Don't miss this beautiful tenor perform a great workbook now for Carmina Burana via our website.
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One of Australia’s finest exponents of classical repertoire, Paul McMahon joins us for Carmina Burana in March. 

“…Whilst the tenor has only one song (The Ballad of the Roasting Swan), when in the right hands, it can be a vocal tour de force with its plaintive falsetto. And Paul McMahon was truly masterful, delivering with precision and power…” - @limelightmagazine 

Dont miss this beautiful tenor perform a great workbook now for Carmina Burana via our website.
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