Winner of the Loveday Song Prize at the 2017 Kathleen Ferrier Awards, Patrick Terry was born and raised in Janesville, Wisconsin.
He earned his Bachelor’s of Music from the University of Minnesota – Twin Cities in 2014 where he studied with Adriana Zabala. He has recently graduated from London’s Royal Academy of Music, where he studied with Caitlin Hulcup and Michael Chance on the Opera Course with generous support from the Josephine Baker Trust and the John J Adams Scholarship.
Further competition success has included Second Prize at the 2015 Joan Chissell Schumann Lieder Competition, winning the 2014 Maureen Lehane Vocal Award and winning the 2017 Richard Lewis / Jean Shanks Award.
He has toured with the Merry Opera Company’s staged production of Handel’s Messiah and has sung as soloist for the RAM / Koch Foundation Bach Cantata series.
Operatic engagements have included Oberon A Midsummer Night’s Dream for Chicago Summer Opera, The Refugee Flight and Ruggiero Alcina for Royal Academy Opera and covering Guildenstern in Brett Dean’s Hamlet for Glyndebourne Festival Opera.
Selected for the 2018 Leeds Lieder Young Artists Festival, his current engagements include The Boy / Angel 1 Written On Skin with the Melos Sinfonia, Rosencrantz Hamlet for Glyndebourne On Tour, covering Nireno Giulio Cesare for Glyndebourne Festival Opera, the title role in Teseo with La Nuova Musica at the 2018 London Handel Festival and a Wigmore Hall appearance with Imogen Cooper.
Patrick Terry joins the Jette Parker Young Artists Programme at the Royal Opera House, Covent Garden, from the start of the 2018 / 2019 season. He will also travel to Japan to appear in Le Promesse (Gala Concert by Young Opera Singers Tomorrow of the World) at the New National Theatre, Tokyo, return to the Wigmore Hall for Heroes and Villains, appear in Beyond Jerusalem: The Life and Times of Sir Charles Hubert Parry at the 2018 London Song Festival and sing Ruggiero Alcina with La Nuova Musica.
Please note that this biography is not to be used for programmes. Current information is available on request.
The Boy: Written On Skin / Melos Sinfonia
“...a sensuous portrayal that combined subtlety and urgency, matched by singing of gorgeous potency – the quality of his top voice is very impressive.“
“Patrick Terry, in the less flesh-and-blood role of the Boy, floated seductively ethereal lines…”
“Patrick Terry’s plangently sung Boy..”
The Refugee: Flight / Royal Academy Opera
”In the casting of countertenor and stratospheric soprano, Dove nods at Oberon and Tytania in Britten’s Dream, another relationship in crisis. In a superb all-round cast, Patrick Terry‘s Refugee and Ilona Revolskaya‘s Controller still stood out – possibly down to the high-wire acrobatics of the vocal writing. Terry’s countertenor is smooth and tender, especially when he learns that his brother has died – “a frozen man falling like a frozen star” – in his attempt for freedom.“
“Patrick Terry sang with innocent sweetness and simplicyt….”
“…the countertenor Patrick Terry excelled…”
Ruggiero: Alcina / Royal Academy Opera
“Patrick Terry’s unusually crisp and liquid tone at a high pitch, even for a countertenor, made for an impressive realisation of Ruggiero, in the throes of infatuated pleasure on Alcina’s island. He is surely a singer to watch in other roles written for the great castratos such as Senesino, Carestini and Farinelli.”
“…Patrick Terry, whose consistent beauty of tone and heroic demeanour suggested the heir to David Daniels.”
Teseo / London Handel Festival
“Patrick Terry’s Teseo combined both purity and strength of tone without strain…”
“Terry’s countertenor possessed all of the formal attributes required to generate a strong sound, but it went beyond producing merely that to achieve what can only be described as a dreamy perfection.”
Kathleen Ferrier Awards / Wigmore Hall
“Terry’s performance of L’enamourée by Reynaldo Hahn was one of the highlights of the evening: there was a real sense of rapture as Théodore de Banville’s poetry flowered from sparse gentleness to rich delight. The exquisitely smooth phrases enticed the listener; the lines were nimbly flexible but contoured with total control.”