JohnFindon
Contact
For availability and general enquiries:
Rowan Bidmead
Dominic Domingo
For contracts, logistics and press:
Grace Hewett
Representation
Worldwide general management with Askonas Holt
About John
British tenor, John Findon studied at the Royal Conservatoire of Scotland and the Guildhall School of Music and Drama Opera Course. He was a Harewood Artist at English National Opera from 2022 – 2024 and a Jerwood Young Artist at Glyndebourne Festival in 2017.
This 2024/25 season will see John make two house and role debuts; Bacchus Ariadne auf Naxos at Opéra de Rouen and Narraboth Salome at Teatro di San Carlo. John will also cover the title role of Peter Grimes in Deborah Warner’s production at Teatro dell’Opera di Roma and return to The Grange Festival in the Summer. Future seasons will see him return to the Royal Opera House Covent Garden, English National Opera, Opera North, and Garsington Festival.
Recent highlights include his role debuts as Don Jose Carmen at Glyndebourne Festival and title role of Peter Grimes at English National Opera. He made his house debut at Bayerische Staatsoper for 1st Armoured man and 2nd Priest Die Zauberflöte, a role debut as Steva Jenůfa at English National Opera, revived the role of Luke The Handmaid’s Tale at English National Opera, before spending the summer at Glyndebourne Festival for 1st Armed Man/2nd Priest Die Zauberflöte and cover Melot Tristan und Isolde.
On the concert platform, John recently made debuts with the BBC Symphony Orchestra for Luigi Nono’s Canti di vita e d’amore with conductor Martyn Brabbins, with Ulster Orchestra for Dvořák’s Stabat mater with conductor Jac van Steen and made a studio recording of Pamela Harrison’s The Dark Forest with the BBC Philharmonic.
Representation
Worldwide general management with Askonas Holt
Season Highlights
Selected Repertoire
| Bizet | Carmen (Don José) |
|---|---|
| Britten | Peter Grimes (title role and Bob Boles) • Owen Wingrave (Sir Philip) • Rape of Lucretia (Male Chorus) |
| Dvorak | Rusalka (The Prince) |
| Handel | Rodelinda (Grimoaldo) • Semele (Jupiter) |
| Humperdinck | Hansel and Gretel (Witch) |
| Janacek | The Cunning Little Vixen (Cock) • Jenufa (Steva) |
| Korngold | Die tote Stadt (Paul) |
| Leoncavallo | Pagliacci (Canio) |
| Mozart | Idomeneo (title role) • La clemenza di Tito (Tito) • Die Zauberflote (Monostatos, First Armed Man) |
| Puccini | Tosca (Spoletta) |
| Shostakovich | Lady Macbeth of Mtsensk (Zinoviy Borisovich) |
| Strauss | Ariadne auf Naxos (Bacchus) |
| Strauss | Salome (Narraboth) |
| Tchaikovsky | Iolanta (Vodemont) • Mazeppa (Andrei) |
| Wagner | Die Meistersinger von Nürnberg (Walther) • Das Rhinegold (Mime/Loge) • Die Walkure (Siegmund) • Siegfried (Mime and Siegfried) • Gotterdammerung (Siegfried) • Tristan und Isolde (Melot) |
| Weber | Der Freischutz (Max) • Oberon (Huon) |
News
Press
Bizet Carmen
GlyndebourneMay 2024he found a breathtaking intensity, with a high-octane vibrato and gleaming ring in his confrontations with Escamillo and Carmen at the smugglers’ encampment, feeding off Chaieb’s defiance. In the final scene, the voice still shone, but found some added snarls and rasps, as the animal violence of the scene came out. On his knees, after strangling her – “You can arrest me now” – there was a rare moment of tenderness with a sob in the voice. One to watch.
- Benjamin Poore, Operawire
- 28 May 2024
He makes it his own, with a voice that grows in power as the character grows in confidence, and a stage presence that unfolds from detachment and diffidence to lethal passion.
- Claudia Pritchard, Culture Whisper
- 27 May 2024
