Born in Northumberland, Richard Pinkstone graduated from the University of York, where he read Music and sang Damon Acis and Galatea and Tamino The Magic Flute.
He is now a member of the Royal College of Music International Opera School, under the tutelage of Timothy Evans-Jones, having gained a distinction in his Masters in Vocal Performance.
At the Royal College of Music, he has sung The Witch Hänsel und Gretel, directed by Liam Steel, Il Podestà La finta giardiniera, directed by Harry Fehr and Alfred Die Fledermaus, directed by John Copley.
Richard Pinkstone recently made his professional operatic debut singing the title role in Albert Herring for the inaugural Grange Festival, conducted by Steuart Bedford OBE and directed by John Copley CBE, of which performance Hugh Canning for The Sunday Times wrote: “Britten’s comedy boasts a terrific lead in Richard Pinkstone”.
Recent solo engagements have included Handel’s Messiah at Truro Cathedral and Mozart’s Great Mass in C Minor at Sunderland Minster. He made his international debut with a recital of arias by Puccini, Rossini and Verdi at the Castel Sant’Angelo in Rome. This year, he sings Lysander A Midsummer Night’s Dream and School Master The Cunning Little Vixen for the Royal College of Music International Opera School.
Richard Pinkstone is a Royal College of Music Carne Trust Scholar supported by an Yvonne Wells Award, The Winship Foundation, Talent Unlimited and The Josephine Baker Trust.
Please note that this biography is not to be used for programmes. Current information is available on request.
Albert: Albert Herring / The Grange Festival
“Richard Pinkstone gives us a different, and utterly credible, take on shop-boy Albert, the good boy voted May King since all the village girls are, in the words of the chief moralist, "not virgins but trollops". Tied to his widowed mum's apron strings but clearly strong enough to break loose from the first, this Albert has the operatic-tenor heft for the will to freedom in the voice from his very first scene, rather than the usual softer grain of the lyric-character choral scholar. The emancipation sees him very much in control; again, it's completely believable.”
The Arts Desk
“Albert himself was sympathetically sung by Richard Pinkstone, his willowy tenor capable of rising to heroic determination as he broke loose.”
“Above all, it is Richard Pinkstone as an outstanding and cherubic Albert; his comic timing, clear diction and full-throated singing fully engage, indicating early on that Albert is neither “plaster saint” nor “simpleton”. Particularly impressive was his self-pitying aria, sung with heartfelt emotion…”
“Richard Pinkstone, at once truculent and downtrodden, makes a nicely unsentimental Albert…”
The Financial Times
“Albert’s predicament is credibly set out by Richard Pinkstone…”
“…(Orla Boylan’s) singing is glorious, whether trumpeting outrage or quietly accepting joyful outcomes. The same is true of Richard Pinkstone’s ‘hero,’ whose robust tones always suggest the eventual break-out – he gave a beautifully rounded performance, from his horror at unpaid-for peaches to his insouciant swaggering at his ‘reappearance.’”
"...as believable an exponent of the role as any I have seen and with the vocal chops to make his big Act 2 monologue another highlight."
“…a marvellous team of singing actors led by Richard Pinkstone’s likeable Albert…”
“Richard Pinkstone's Albert started out quiet and controlled, but certainly not too dim and there was a nice sense of undercurrents of something like rebellion already running through his performance in Act One. Pinkstone has an engaging stage presence, so his tipsy Act Three solo was particularly notable and enjoyable. As Albert started relaxing under the influence of the rum in Act Two, Pinkstone allowed his performance to become more animated, and the final scene was a brilliant mixture of comedy and seriousness. Pinkstone really brought out the feeling that Albert really was finding himself.”
“The sturdy doggedness of Richard Pinkstone, firm-voiced in the title role, makes the young grocer more than a wimp, even before he breaks free.”
“Britten’s comedy boasts a terrific lead in Richard Pinkstone.”
The Sunday Times
“And at the heart of it all, Richard Pinkstone’s finely judged meek and mild Albert Herring.”
Witch: Hänsel und Gretel / Royal College of Music International Opera School
“Richard Pinkstone trod with great skill the fine line between comedy and tragedy, with stagecraft second to none, stagecraft that yet did not eclipse his estimable vocal attributes.”
Alfred: Die Fledermaus / Royal College of Music International Opera School
“Richard Pinkstone’s Alfred was an endearing, self-regarding operatic tenor...”