Mark Padmore


Mark Padmore

Mark Padmore was born in London and grew up in Canterbury. He was a choral scholar at King’s College, Cambridge and graduated with an honours degree in music in 1982. In the opera house he has worked with such distinguished directors as Peter Brook, Katie Mitchell, Mark Morris and Deborah Warner and has sung at English, Welsh and Scottish National Operas, Royal Opera House, Covent Garden, Opéra de Paris, Opéra de Lausanne, Théâtre du Châtelet and the Aix-en Provence Festival. He has appeared with many of the world’s greatest orchestras including the Berlin, New York and Vienna Philharmonics, the London Symphony Orchestra and the Royal Concertgebouw Orchestra. He has given recitals in Amsterdam, Barcelona, Brussels, Copenhagen, London, Moscow, New York, Paris and Zürich with pianists such as Imogen Cooper, Julius Drake, Till Fellner, Steven Osborne and Roger Vignoles.

He has made numerous recordings including Bach’s Passions, Mozart’s Don Giovanni and La Clemenza di Tito, Handel’s Messiah and Britten’s Turn of the Screw.

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Handel: Solomon

Handel: Solomon

2 CD box with sung texts and French translation

Handel was 63 years-old when he composed 'Solomon', one of his final masterpieces. It caused the composer serious financial difficulties in 1749 on account of the exceptional forces it required – but under the baton of Daniel Reuss, it finds a crack British cast devoted to its noble cause. This monumental oratorio depicts the three highpoints of the biblical king’s life: the building of the temple, the famous judgment, and the visit of the Queen of Sheba.

“With Sarah Connolly and Caroline Sampson appearing for the prosecution, it doesn’t require the judgement of Solomon to predict a favourable outcome.” BBC Music Magazine, January 2017 ****

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Scarlatti, A: Sedecia, re di Gerusalemme

Scarlatti, A: Sedecia, re di Gerusalemme

Gérard Lesne (Sedecia), Philippe Jaroussky (Ismale), Mark Padmore (Nadabbe), Peter Harvey (Nabucco), Virginie Pochon (Anna)

Il Seminario Musicale

“The edition for this premiere recording has been made by Karl Böhmer, who has provided an informative introductory essay, and Oliver Mattern. Gérard Lesne has made something of a speciality of Scarlatti’s music and his lively direction of Sedecia benefits from his fluent handling of dramatic and stylistic aspects of the work...A splendid achievement.” BBC Music Magazine

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Beethoven: Missa Solemnis in D major, Op. 123

Beethoven: Missa Solemnis in D major, Op. 123

Live-Recording, Munich, Herkulessaal, 25./26.09.2014

Genia Kühmeier (soprano), Elisabeth Kulman (mezzo-soprano), Mark Padmore (tenor), Hanno Müller-Brachmann (bass-baritone) & Anton Barachovsky (solo violin)

Chor and Symphonieorchester des Bayerischen Rundfunks, Bernard Haitink

The BR-KLASSIK label has already released several recordings with Bernard Haitink, who has now been connected with the Symphonieorchester des Bayerischen Rundfunks for over 55 years. Following Bruckner's Fifth Symphony, Mahler's Ninth and Haydn's "Creation," BR-KLASSIK now presents a live recording of Ludwig van Beethoven's "Missa solemnis" – a work performed for the recording market for the first time under the baton of Bernard Haitink. The musical partners of this grand seigneur among world-class conductors are the Choir and Symphonieorchester des Bayerischen Rundfunks as well as a finely coordinated ensemble of soloists, consisting of Genia Kühmeier, Elisabeth Kulman, Mark Padmore and Hanno Müller-Brachmann.

“it is deeply felt, has a superbly disciplined and committed chorus, and grows powerfully towards an Agnus Dei whose darkness and terror are beautifully realised.” Sunday Times, 10th May 2015

“Haitink at 85 makes his first recording of one of music’s choral masterpieces – and what a wonderful performance his wisdom and experience offers.” Gramophone Magazine, August 2015

GGramophone Magazine

Editor's Choice - August 2015

BR Klassik - 900130



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Mark Padmore sings Beethoven, Mozart & Haydn

Mark Padmore sings Beethoven, Mozart & Haydn


An die ferne Geliebte (To the distant beloved), Op. 98

Maigesang, Op. 52 No. 4

Neue Liebe, Neues Leben, Op. 75, 2

Mephistos Flohlied, Op. 75, 3

Adelaide, Op. 46

Selbstgesprach, WoO 114

Resignation, WoO 149

An die Hoffnung, Op. 94

Abendlied unter'm gestirten Himmel, WoO 150


She Never Told Her Love, Hob. XXVIa:34

The Spirit's Song, Hob. XXVIa:41

The Boatman, Hob.XXXia:246


Das Veilchen, K476

Abendempfindung an Laura, K523

Die ihr des unermeßlichen Weltfalls - Kantate, K619

Mark Padmore (tenor) & Kristian Bezuidenhout (fortepiano, Rosenberger, c.1820. Tuning: A = 430, unequal temperament)

Following their acclaimed Schumann recording, tenor Mark Padmore and fortepiano phenomenon Kristian Bezuidenhout join forces again for this varied and appealing lieder recital of songs by Haydn, 'An die ferne Geliebte' Op.98 by Beethoven, and the Masonic Cantata K.619 by Mozart.

“highly refined recital by the ever-sensitive Mark Padmore in what appears to be a richly rewarding dialogue with the South African fortepianist Kristian Bezuidenhout: the tenor’s sweet, heady and youthful lucidity of tone is beautifully complemented by the percussive resonance of the accompaniment. One senses two true musicians in deep harmony with each other.” The Telegraph, 5th April 2015 ****

“In his Haydn and Mozart songs Padmore sings with an extra delicacy ... His Beethoven is stronger and more forthright, culminating in a heartfelt performance of the cycle An die ferne Geliebte. Bezuidenhout draws the maximum colour and contrast out of his fortepiano throughout.” Financial Times, April 2015

“Mark Padmore combines an acute intelligence with an unvarnished directness in all he sings. In symbiotic partnership with fortepianist Kristian Bezuidenhout, Padmore 'lives' all of these songs, noticing everything, exaggerating nothing ... Padmore is an eager and touching storyteller ... In An Die Ferne Geliebte Padmore and Bezuidenhout catch naturally, unfussily, the oscillations between stillness and excited anticipation, dream and desire. This is a true dialogue between voice and keyboard, as it should be.” Gramophone Magazine, May 2015

“From urgent declamation to whispered despair, Padmore expresses all with directness, clarity and tonal variety. Bezuidenhout is an equal partner: engaged, lively, with a wonderful brio which never overwhelms the singer.” The Observer, 3rd May 2015 ****

“Padmore’s normal mode, often vibrato-free, is of such an intimacy that he might almost be addressing his beguiling, carefully contoured delivery to you alone. With such detail and depth, you imagine, he could make a telephone directory interesting.” Irish Times, 1st May 2015 *****

“Bezuidenhout's fortepiano sounds for all the world like a harp at the very opening of the Abendlied that ends the disc. Its beautiful, serenade-like quality makes it a great choice for a final track. Padmore finds his groove here, too, transcendent and thoughtful for the opening verses but then rising to a peak of triumph for the "transfigured countenance" of the song's second half.” MusicWeb International, 17th July 2015

“On this astutely chosen program, Mr. Padmore, accompanied by the elegant fortepianist Mr. Bezuidenhout, gives richly expressive, crisp accounts.” New York Times, 11th December 2015

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Sea Eagle (works for horn)

Sea Eagle (works for horn)

Barry, G:


Mark Padmore (tenor) & Huw Watkins (piano)

Davies, Peter Maxwell:

Sea Eagle for solo horn

Holloway, R:

Trio for Horn, Cello and Piano

Paul Watkins (cello) & Huw Watkins (piano)

Matthews, C:

Three of a Kind

Paul Watkins (cello) & Huw Watkins (piano)

Matthews, D:

Quintet for Horn and Strings

live recording

The Nash Ensemble


Prayer for a great man

Paul Watkins (cello)

Watkins, H:


Laura Samuel (violin) & Huw Watkins (piano)

All of the works on this release have been premiered by Richard Watkins, with both Colin Matthews' Three of a Kind and Robin Holloway's Trio receiving their first performance on this album.

Richard Watkins holds the Dennis Brain Chair of Horn Playing at the Royal Academy of Music, where he is also a Fellow. Forthcoming concerts featuring Richard Watkins include: Mozart Horn Concerto Project for BBC on Isle of Skye with BBC SSO. (Filming educational project & performance 9-14 February); Strauss Horn Concerto No 2 with Szczecin Philharmonic (4-7 March); James Horner Concerto for 4 Horns/LPO at Royal Festival Hall (world premiere, 27 March) There are three 'Watkinses' on this album but just two of them are related. Cellist Paul and pianist/composer Huw are brothers.

Richard Watkins is one of the most sought-after horn players of his generation. He was Principal Horn of the Philharmonia Orchestra for twelve years, and is currently a member of the Nash Ensemble and a founder member of London Winds. Closely associated with promoting contemporary music for the horn, Richard Watkins has given premieres of concertos by Maxwell-Davies, Osborne, Lindberg, Muldowney, Lefanu, and Colin and David Matthews.

The title work on this album is Peter Maxwell Davies' solo horn piece Sea Eagle (1982). It was initially considered by many to be impossible to play but is now regarded as an essential part of the horn repetoire and is even a set-piece for the prestigious Munich Horn Competition.

Richard is joined on this recording by a stellar line-up of chamber musicians, including Paul Watkins and Huw Watkins for an unusual combination of horn, cello and piano (C Matthews & Holloway), and tenor Mark Padmore to present the unmistakable soundworld of Gerald Barry. His setting of Lewis Carroll’s famous poem Jabberwocky – which is first sung in French, with expressive legato phrases, and then repeated more forcefully in German – features some delightfully unconventional horn writing.

“The horn in this interesting British Isles sequence combines with other instruments and a voice, like an atom claimed by different molecules.” Sunday Times, 15th March 2015

“NMC's enterprising and thoroughly absorbing sequence shows [Richard Watkins] to be an imperious exponent of his craft and a wonderfully instinctive musician to boot…Huw Watkins's shrewdly paced and keenly proportioned 2009 Trio for horn, violin and piano strikes me as a real find.” Gramophone Magazine, May 2015

“The quality of the works on offer here should make this release appeal well beyond the ranks of new music aficionados; and the near-flawless performances provide their own recommendation...[Watkins's] sound is firm and sonorous, with no trace of that exasperating fizziness of tone you sometimes hear elsewhere.” BBC Music Magazine, June 2015 ****




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Thomas Larcher: What Becomes

Thomas Larcher: What Becomes


Smart Dust


What Becomes

A Padmore Cycle

Tamara Stefanovich (piano), Mark Padmore (tenor) & Thomas Larcher (piano)

Thomas Larcher’s sound world is both original and captivating in its fusion of contemplative harmonies with innovative performance techniques. Written for and performed by tenor Mark Padmore, 'A Padmore Cycle' features the composer at the keyboard. Works for solo piano performed by Tamara Stefanovich round out this programme of first recordings.

Born 1963 in Innsbruck, composer Thomas Larcher studied piano and composition in Vienna. He first gained renown primarily as a pianist, performing with major orchestras and prominent conductors such as Claudio Abbado, Pierre Boulez and Franz Welser Möst. In 1998, he began to define himself more clearly as a composer. Since then he has composed works for the San Francisco Orchestra, the BBC Symphony Orchestra, London Sinfonietta, the Belcea Quartet, and for Leif Ove Andsnes, Matthias Goerne, Mark Padmore and Viktoria Mullova and Matthew Barley.

He has recorded five CDs with ECM, most recently 'Madhares' with Kim Kashkashian, Till Fellner and Dennis Russell Davies. Thomas Larcher has won numerous distinctions, including the Choc de la Musique and the British Composer Award (International category) 2012. The UK premiere of A Padmore Cycle, orchestrated version will be in November 2014 with the BBC Symphony Orchestra.

“if Larcher's settings, which are beautifully tailored to the colour, clarity and expressive strengths of Padmore's voice, evoke any specific 19th-century song composer it is Schumann.” The Guardian, 15th May 2014 ***

“Larcher's music is notable for its eclectic frame of reference and a capacity for creating striking and surprising moments...the songs make full use of Padmore's exceptional interpretative talents.” BBC Music Magazine, June 2014 *****

“Larcher maintains a fascination with the unadorned note, often played in spacious, uncrowded circumstances that require a certain kind of concentration to determine what sort of an idea is unfolding...The special qualities of A Padmore Cycle would emerge in higher relief if surrounded by something more traditional.” Gramophone Magazine, June 2014

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Vaughan Williams: On Wenlock Edge & Ten Blake Songs

Vaughan Williams: On Wenlock Edge & Ten Blake Songs


The End

Nicholas Daniel (cor anglais)

Britten Sinfonia (members), Jacqueline Shave

Vaughan Williams:

On Wenlock Edge

Britten Sinfonia (members), Huw Watkins (piano)

Ten Blake Songs

Nicholas Daniel (oboe)


The Curlew

Nicholas Daniel (cor anglais)

Britten Sinfonia (members), Jacqueline Shave

Mark Padmore (tenor)

Fresh from his triumph in the Glyndebourne 'Billy Budd', star tenor Mark Padmore is joined by members of Britten Sinfonia in 3 quintessentially British song-cycles: Ralph Vaughan Williams’ 'On Wenlock Edge', with pianist Huw Watkins; 'Ten Blake Songs' with oboist Nicholas Daniel; and Peter Warlock’s best-known work, 'The Curlew'. 'The End' by Jonathan Dove (a co-commission by Britten Sinfonia and Wigmore Hall) receives its world première recording here.

British composer Jonathan Dove (b. 1959) made the following remarks on the genesis of his new work, 'The End' (2012), with support from the 'Tenner for a Tenor' campaign.

"When I heard Mark Strand read his poem ‘The End’ to a small gathering of artists in Italy a few years ago, I was moved – and also felt immediately that it was a poem that could be sung. I hoped that one day I might have the chance to set it to music. I did not know exactly what the music would sound like, but I imagined a solo voice with several instruments.

Britten Sinfonia gave me the opportunity to make this wish come true, by inviting me to write something for Mark Padmore to sing, with instrumentation to match Warlock’s 'The Curlew'. String quartet with two solo wind instruments seemed the perfect combination to suggest the gentle rocking motion of the ship slipping into darkness, and perhaps hear birds suspended in flight."

“This is a reflective, beautifully delivered recital of English song much concerned with death, its nature well suited to this tenor’s mellifluously lyrical, emotionally intense music-making.” Sunday Times, 29th September 2013

“This is an extremely fine disc. Mark Padmore’s singing is technically beyond reproach and his eloquence is telling in all four works on the programme. At every turn he finds superb partners in the members of Britten Sinfonia...this new release is one of the finest discs of English song to have come my way in a long time.” MusicWeb International, 1st November 2013

“Dove's musical nightscape shifts slowly and slightly...The same vocal simplicity and white timbre that chafes so tellingly at the smugness of Blake's Innocence poems (aided there by exquisite solo oboe) also works well here for Padmore, never blurring the clarity of the composer's melodic architecture.” Gramophone Magazine, November 2013

“Edge, rather than lyrical elegance, is Mark Padmore's expressive strength, combined with his superb diction...I've never heard [the Blake Songs] come across so convincingly...Lavish praise too for the wonderful playing of the Britten Sinfonia...I shall be coming back to this.” BBC Music Magazine, December 2013 ****

“Many of Blake’s finest, most condensed verse utterances are here, Innocence and Experience nestling side by side: darkness is ever-present, as we move for instance from the Sunflower- and then to the comforting ‘Divine Image’. Ten Blake Songs is a bleak masterpiece and Padmore and Daniel are exceptional… This fine release earns plaudits on every front” International Record Review, November 2013

GGramophone Awards 2014

Finalist - Solo Vocal

Super Audio CD


Hybrid Multi-channel

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Handel: Messiah

Handel: Messiah

“Christie negotiates both wide-eyed wonderment of the Nativity and the pathos of Part II with aplomb in a performance underpinned by luxury casting and instrumental finesse.” BBC Music Magazine, Christmas Issue 2013

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Alec Roth: Sometime I Sing

Alec Roth: Sometime I Sing

Music for Voice and Guitar

Roth, A:

My Lute and I


Dark Night

Night Songs (3)


English Folk Songs (5)

Lights Out

Mark Padmore (tenor) & Morgan Szymanski (guitar)

A lyrical collection of chamber works for tenor and guitar, 'Sometime I Sing' unites Gramophone award-winning tenor Mark Padmore with Mexican guitarist, Morgan Szymanski, in settings of texts by Thomas Wyatt, Vikram Seth, John Donne and Edward Thomas by the composer Alec Roth.

Roth is a UK-based composer who works across a wide range of musical genres, including stage works, vocal, choral, orchestral, instrumental, and Javanese gamelan. His former posts include Founder/Director of the Royal Festival Hall Gamelan Programme and Southbank Gamelan Players, Music Director of the Baylis Programme, English National Opera and Associate Composer, Opera North. This is his third disc with Signum, following a choral album with Ex Cathedra (SIGCD270) and a chamber music disc 'Songs in Time of War' (SIGCD124) also with Mark Padmore and Morgan Szymanski.

“Padmore’s clean tenor finds an ideal vehicle ... there’s a transparent, haunting beauty about it, and the accompaniments for violin, harp and guitar are a joy” The Times, 8th June 2013 ****

“Light-footed, lyrical, Roth's settings range from Thomas Wyatt to Vikram Seth. They suit Szymanski's elegant guitar and Padmore's refined tenor, but devitalise folksongs like Scarborough Fair.” BBC Music Magazine, August 2013 ***

“[My Lute ande I] is an excellent and most appealing set of songs which I enjoyed very much; the performance is surely definitive...This is a delightful disc containing some highly accomplished and very imaginative music, beautifully written for voice and guitar.” MusicWeb International, 12th August 2013

“Roth's song cycle My Lute and I harnesses language and music in a highly effective alliance...Padmore's flexible voice, with its high register being exploited to particular fruitful effect, is the ideal vehicle for this repertoire” Gramophone Magazine, September 2013

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Britten‘s War Requiem: 50th anniversary in Coventry

Britten‘s War Requiem: 50th anniversary in Coventry


War Requiem, Op. 66

Live Recording from Coventry Cathedral, 30 May 2012

2012 brings the 50th anniversary of the premiere of Britten‘s War Requiem, one of the most powerful pacifist statements in music. The first performance took place in 1962 in the newly consecrated Coventry Cathedral, built alongside the ruins of the old cathedral, left as a sombre reminder of the wartime bombings. On 30 May 2012, 50 years to the day, Britten‘s masterpiece returns to the cathedral, performed as at the premiere by the City of Birmingham Symphony Orchestra and vocal soloists from three once warring nations.

The anniversary performance is conducted by the CBSO‘s Music Director, Andris Nelsons, featuring the Canadian soprano Erin Wall, English tenor Mark Padmore singing the role written for Peter Pears, and German baritone Hanno Müller-Brachmann. Choral forces are provided by the CBSO Chorus and Youth Chorus. Benjamin Britten (1913-1976) was commissioned to compose a work for the inauguration in 1962 of Coventry’s new cathedral, adjoining the old cathedral that had been bombed and nearly completely destroyed by the German Luftwaffe at the beginning of World War II in November 1940. The commission gave Britten complete freedom to choose the type of music to compose. He conceived of setting the traditional Latin Mass for the Dead interwoven with nine poems by the English poet Wilfred Owen, who had been killed in World War I. It has become one of the defining masterpieces of the twentieth century: a devastating meditation on the pity of war that is every bit as relevant today.

"The light-filled building was used to full effect. The CBSO Youth Chorus was positioned at the high altar beneath Graham Sutherland's Christ in Glory tapestry, all golden section and green resurrection...Padmore sang with visionary intensity. Müller-Brachmann maintained an unadorned simplicity of expression." Fiona Maddocks, The Observer, on the live performance

Sound Format: PCM Stereo, dts-HD Master Audio 5.1 (Blu-ray)

Picture Format: 16:9, 1080i FULL HD

Audio Languages: Sung in Latin and English

Subtitle Languages: GB, DE, FR, ES

Running Time: 97 mins

FSK: 0

“The three soloists are not, perhaps, quite as eminently as the originals, but they're all excellent...[Nelsons's] un-English reading, more tautly controlled and vigorous than Britten's own, reveals unexpected hues and beauties in the score. This never drags, despite so much inner darkness, and the camera enhances the performance” BBC Music Magazine, January 2013 *****

“[Padmore] is simply outstanding...Erin Wall projects the soprano part extremely well...Orchestra and choirs played their parts admirably but the overall accolade...must go to Andris Nelsons for the wonderful way in which he holds the whole thing together.” MusicWeb International, January 2013

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