Ross Ramgobin


Ross Ramgobin

The Protector: Written On Skin / Melos Sinfonia

“It’s Ross Ramgobin’s Protector, his smile sharp as a blade, that sets the tone. Without his ferocity, his arrogance we’d lose the note of danger that must sound from the very start. His warm baritone, clearly articulated and projected, deploys Crimp’s consonants like pistol shots, and finds plenty of colour to nuance the character’s villainy. Dominating the stage-space, Ramgobin becomes the centre, not a point, of this love-triangle.”

The Arts Desk


“The evening was dominated by Ross Ramgobin’s magnificently sung and sharply-acted Protector, encompassing the role’s Bluebeard-like alpha-male obsession and Golaud’s eruptive jealousy to overwhelming effect. His voice has fullness, range and variety, he could turn the flow of the drama with the smallest gesture and his delivery was always inside the text.”

Classical Source


Ross Ramgobin was a smouldering Protector, a walking time-bomb...”

The Guardian


Claudio: Béatrice et Bénédict / Royal Academy Opera

"...the stars of Jennifer France's Héro and Ross Ramgobin's Claudio shone brightly indeed, their lines both ardent yet elegantly shaped in fine Gallic fashion".

Seen and Heard International


Owen Wingrave / Aldeburgh Festival

"...The greatest triumph belongs to Ramgobin's Wingrave, as it should. He shows us an adolescent at breaking point right from the start, which makes Owen's stands against an unrelenting fury- family and his solo in praise of peace - for the first time in my experience truly tear-jerking and desperately sad as the vision crumbles - all the more impressive."

The Arts Desk


“If Ross Ramgobin and Catherine Backhouse don’t make it big, there’s as little justice in the world as there is in Britten’s and James’s hermetically sealed Paramore.“

The Arts Desk – Best of 2014


“Young Ross Ramgobin is an almost ideal Owen Wingrave: he's just the right age to convincingly bring the rebellious spirit of the eponymous hero to the stage. With his beautiful, smooth baritone voice, he effortlessly shapes his character's tempestuous mood changes.”

General Anzeiger Bonn


"Ross Ramgobin heroically incarnates the doomed hero..."

The Independent


“…there’s a triumphant debut from the young British baritone Ross Ramgobin, who finds a way to sing the title role with clarity and beauty yet still show himself a fighter.”

New York Times


“Ross Ramgobin sang with honeyed warmth, and portrayed Owen’s youthful innocence with as much detail as his later scowling bitterness and angst.”



“Baritone Ross Ramgobin made a suitably sensitive and determined Owen,”

Opera News


"Young baritone Ross Ramgobin suggested both the vulnerability and the strength of Owen.”

Opera Now


"Baritone Ross Ramgobin displayed much vocal elegance in the title role and evoked considerable pathos..."

Seen and Heard International


"There are no weak links anywhere in the cast, either, though Ross Ramgobin's thoughtful Owen, Jonathan Summers' sympathetic Spencer Coyle, Samantha Crawford's humane Mrs Coyle and Janis Kelly's Mrs Julian are particularly notable."

The Stage


“The cast bears comparison with Britten’s own. Ross Ramgobin grew into the title part through the course of the action.”

Sunday Times


Owen Wingrave / Edinburgh Festival

“Ross Ramgobin –in fine voice and with impeccable enunciation.”

The Scotsman


"Ross Ramgobin is first rate as Owen, his voice beautiful yet muscular and full of youthful energy."

Seen and Heard International


The ghosts and the family members mingle in silhouette, isolating Ross Ramgobin's callow and undemonstrative Owen in a sort of double focus. He sings the role beautifully, making Britten's uncompromising, hard-won lyricism sound the most natural expression in the world.”

What’s On Stage


Rambashi: The Firework Maker’s Daughter / Royal Opera, London

“The ever-optimistic jack of all trades Rambashi is enthusiastically portrayed by Ross Ramgobin, who also gives us a hilariously evil Emperor in the most visually stunning costume of the night, complete with mask, stilts and thin golden fingertips"



Ross Ramgobin makes a virtuosic fist of Rambashi, the elephant-keeper-turned-pirate-turned-chef-turned-master-of-ceremonies."

The Financial Times


"Ross Ramgobin exploits Rambashi’s ramshackle portfolio career as pirate, chef and MC with bags of energy, and doubles as the capricious king who threatens to execute Lila’s elderly father "in the kindest possible way."

The Guardian


“…there are other star turns in this fine ensemble show, most notably by Ross Ramgobin, Peter Kirk, and countertenor Tai Oney as a fancifully-conceived pet elephant.”

The Independent


Belcore: L’elisir d’amore / Verbier Festival

“The assertive vibrancy of Ross Ramgobin’s sound put Belcore very much in the picture as a sharp-suited but good-natured Jack the Lad.”



Pallante: Agrippina / Brisbane Baroque

“Narciso (Owen Willetts) and Pallante (Ross Ramgobin) – Agrippina’s hapless stooges – were appropriately foppish but secure vocally.”



Pallante: Agrippina / International Handel Festival, Göttingen

“Ross Ramgobin was excellent as the intriguing Pallante.”



"Ross Ramgobin convinces as a scheming Pallante, with his powerful baritone and machismo presence."



“…Ramgobin’s robust baritone.”

The Opera Critic


Pallante: Agrippina / Accent CD

As Agrippina’s dupes Pallante and Narciso, baritone Ross Ramgobin and countertenor Owen Willetts sound particularly fine in their Act II arias.:

Opera News


Arasse: Siroe, Re di Persia / International Handel Festival, Göttingen

“Although Ross Ramgobin had no aria as Siroe’s faithful friend Arasse, he made a strong impression with impressive depth in his recitatives.”



Mahler: Rückert Lieder / Melos Sinfonia

The young baritone Ross Ramgobin made a good impression in the five Rückert songs of Mahler. The voice itself is attractive. Ramgobin has a good, reliable technique, a pleasing stage presence, and he brought a good degree of character to his interpretation.”

Seen and Heard International


Masetto: Don Giovanni / Angers Nantes Opera

“Ross Ramgobin is an excellent Masetto, powerfully projected but easily sung.”

Forum Opéra


“The Masetto Ross Ramgobin brings great freshness and dynamism to a role too often caricatured. His lively stage performance does not preclude a beautiful voice, both powerful and fresh.”



“Ross Ramgobin was a virile Masetto, with a commanding voice.”



Figaro: The Marriage of Figaro / English Touring Opera

“Ross Ramgobin’s handsome Figaro plots and schemes with wide-eyed glee, and there’s real tenderness in his scenes with (Rachel) Redmond’s self-assured Susanna…”

The Guardian


“Ross Ramgobin’s physical energy as Figaro was matched by singing of vibrant glamour…”



“Vital, alert and quite properly at the centre of things is Ross Ramgobin’s Figaro – another successful step forward in the career of this appreciably talented young baritone.”

The Stage


“As Figaro, Ross Ramgobin is a theatrical livewire, athletic, alert and more than a match for Dawid Kimberg’s dull-witted Count.”

The Sunday Times


“…sang and acted throughout with a freshness and charm that vividly communicated youthful aspiration and energy…”

The Telegraph


“Ross Ramgobin was a storming Figaro, his sly grin as infectious as his warm baritone while he dominated the stage with the force of his personality.”



Papageno: Die Zauberflöte / Royal Academy Opera

“Ross Ramgobin made an engaging Papageno, the comic elevated over the very real pathos with which Mozart endows his bird-man, yet Ramgobin showed himself undoubtedly blessed with the gift of stage presence.”



“…Ross Ramgobin’s endearing Papageno.”



Archibald Grosvenor: Patience / English Touring Opera

"…Ross Ramgobin’s artlessly bumptious presentation of “idyllic poet” Archibald Grosvenor, his rich lyric baritone and flawless timing hinting at star potential."

The Guardian


“Sporting a lustrous dark mane, Ross Ramgobin’s Grosvenor was a worthy heir to the role’s originator, Rutland Barrington, reveling in the poet’s belief in himself as ‘gifted with a beauty which probably has not its rival on earth.’”



“Ross Ramgobin evinced star quality as Archibald Grosvenor: Ramgobin’s beguiling baritone was powerful and clean, and gave substance to Grosvenor’s insipid amiability and mild-mannered, holier-than-thou-ness.”

Opera Today


"…vocally adroit and gently amusing."

The Telegraph


“Ross Ramgobin is persuasive as the self-obsessed Archibald Grosvenor and the cockney geezer into which this “trustee for beauty” is transfigured.”

The Times


"It's a real treat after ENO's lettuce-limp Pirates that Gilbert's creaky dialogue comes across with such new-minted freshness, particularly by Ramgobin whose gift for comedy is as warm as the gorgeous baritone that earned him a nod in the 2015 WhatsOnStage Opera Poll."



Schaunard: La bohème / Dorset Opera Festival

“Pauls Putnins and Ross Ramgobin were strongly cast as Colline and Schaunard, the former displaying a bold, forceful bass-baritone, the later elegantly sung under an unseasonably thick coat.”



“His resilient baritone another major asset, Ross Ramgobin’s Schaunard enlivens every scene in which he takes part…”

The Stage


Onegin: Eugene Onegin / Royal Academy Opera

“Ross Ramgobin’s Onegin was finely sung.”



“…he charted an excellent dramatic course, clearly transformed by the fatal duel with Lensky.”

Seen and Heard International


Yuri: The Ice Break / Birmingham Opera Company

“Ross Ramgobin embodied the troubling role of Yuri with fierce conviction.”

Birmingham Post


“Ross Ramgobin was excellent as the idealist, angry son. He managed to make the final reconciliation and mature understanding of his past actions both moving and convincing.”

Classical Source


“Ross Ramgobin brought seething intensity to Yuri.”



“…sings with clarity and passion.”

The Telegraph


“There are outstanding performances from (ia) Ross Ramgobin as Yuri…”

The Times


Samling Showcase / Wigmore Hall

"(Ross) Ramgobin has an elegant, full baritone and his rendition of ‘Wandrers Nachtlied I’ (Wanderer’s nightsong I), the first of three songs by Schubert, had a gentle ease and well-shaped sense of line. In ‘Am Strome’ (By the river), a subtle employment of rubato and tender diminuendo in the final verse movingly conveyed the protagonist’s yearning ‘for kinder shores’, while Sherlock’s short piano postlude offered some a hint of warmth and consolation. ‘Sehnsucht’ (Longing) was underpinned by the quiet but troubled throbbing of the repeating piano motif, the vocal line once again communicating clear emotions and meaning, thanks to Ramgobin’s astute appreciation of structure and line…Ramgobin’s performance of Wagner’s ‘Wie Todesahnung … O du ein holder Abendstern’ from Tannhäuser was one of the highlights of the evening, full of colour and interest, and sung with a warm, honeyed tone."

Opera Today


Handel Agrippina (role of Pallante)
Ulrike Schneider, Ida Falk Winland, Jake Arditti, Christopher Ainslie, Owen Willetts, Joäo Fernandes
Göttingen Festival Orchestra / Laurence Cummings
Accent CD ACC 26404

Handel Siroe (role of Arasse)
Anna Dennis, Aleksandra Zamojska, Yosemeh Adjei, Lisandro Abadie, Antonio Giovannini
Festspiel Orchester Göttingen / Laurence Cummings
Accent ACC 26401

Ross Ramgobin sings Benjamin: Written On Skin - ‘Stand here. Look’