Elliot Madore

Baritone

Elliot Madore

Baritone

Upcoming Events 

  • Hollywood Bowl – LA Phil

    July 7, 2020

    Carmina Burana – Soloist

  • London Symphony Orchestra

    December 20, 2020 December 22, 2020

    Carmina Burana – Soloist

  • Opernhaus Zürich

    January 17, 2021 January 31, 2021

    Sweeney Todd – Anthony Hope

“Elliot Madore, the baritone soloist, was strikingly warm and sonorous…and impressive in his ability to work falsetto and chest voice, the high and low extremes of his voice, into a single convincing line.”

Anne Midgette, The Washington Post

“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

About

Canadian Grammy® Award-winning baritone, Elliot Madore has established himself as one of the most sought after, accomplished singers of his generation, enthralling audiences around the world with his “robust singing and take-no-prisoners acting” (The New York Times), “exquisite vocal beauty” (Opera News) and “movie star good looks” (Merkur).

At just 33, Madore’s career spans the past decade, singing in major opera companies and orchestras throughout Europe, The United States and Canada.

Recordings

Batter my heart - John Adams

Elliot Madore, Piano: Rachel Andrist

Largo al factotum della città - Gioachino Rossini

Elliot Madore, Mozarteumorchester Salzburg

“The casting of the title role is pivotal in any Don Giovanni production. Elliot Madore meets the challenge with a riveting portrayal, buttressed by strong vocalism. Conniving and slightly mad, this Don craved seduction. Even when he was not singing, he seized attention, so potent was Madore’s theatricality. His sizable baritone could sound robust in the Champagne aria or mellifluous in a softly gentle “Deh vieni la finestra.” This Don was a formidable adversary, almost frightening in his refusal to repent in defiance of the abyss that awaited him.”

Lawrence Budmen / South Florida Classical Review

“Elliot Madore, a Canadian baritone in only his third appearance at the Met, is a swashbuckling Figaro, vocally and physically assured in a role he seems tailored for. Needing a shave himself, he races through a rapid-fire “Largo al factotum” (“Calling a barber in Seville” in English) with confidence.”

Wilborn Hampton, Huffington Post