Winner of the Loveday Song Prize at the 2017 Kathleen Ferrier Awards, Second Prize at the 2019 Handel Singing Competition and a Samling Artist, Patrick Terry was born and raised in Janesville, Wisconsin.
He earned his Bachelor’s of Music from the University of Minnesota – Twin Cities, where he studied with Adriana Zabala, and 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, in Summer 2018.
Selected for the 2018 Leeds Lieder Young Artists Festival, 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. For Royal Academy Opera, he sang The Refugee Flight and Ruggiero Alcina.
Operatic engagements have included The Boy / Angel 1 Written On Skin with the Melos Sinfonia, Oberon A Midsummer Night’s Dream for Chicago Summer Opera,Rosencrantz in Brett Dean’s Hamlet for Glyndebourne On Tour and the title role in Teseo with La Nuova Musica at the 2018 London Handel Festival. Concert highlights have included a Wigmore Hall appearance with Imogen Cooper.
Patrick Terry is a member of the Jette Parker Young Artists Programme at the Royal Opera House, Covent Garden. This season, he travels to Japan to appear in Le Promesse (Gala Concert by Young Opera Singers Tomorrow of the World) at the New National Theatre, Tokyo, and sings Arsace Berenice and Artemis in Hans Werner Henze’s Phaedra.
During 2018 / 2019, he will also return to the Wigmore Hall for Heroes and Villains, appear in Beyond Jerusalem: The Life and Times of Sir Charles Hubert Parry at the London Song Festival, sing J. S. Bach Magnificat and Handel The Choice of Hercules with the London Handel Orchestra and Ruggiero Alcina with La Nuova Music and make his debut with Glyndebourne Festival Opera as Eustazio Rinaldo.
Engagements during 2019 / 2020 include a return to the Royal Opera, London, as Joacim Susanna and debuts with Music Theatre Wales as Serafino The Intelligence Park (a production in association with the Royal Opera, London, and the London Sinfonietta), at The Grange Festival as Oberon A Midsummer Night’s Dream, with Cologne Opera as Rosencrantz Hamlet and with the Early Opera Company as Arsamenes Serse.
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…”
Orfeo: Orfeo ed Euridice / Jette Parker Young Artists Summer Performance 2019
“Patrick Terry sang a stylish Orfeo…”
“Physically and vocally Jacquelyn Stucker and Patrick Terry were incredibly assured.”
“The best singing of the night, for this listener at least, came earlier in the evening the first JPYA countertenor Patrick Terry and American soprano Jacquelyn Stucker performed Orfeo’s tragic submission to Euridice’s desperate pleas, as depicted by Gluck in Act 3 of Orfeo ed Euridice.”
Ruggiero: Alcina / La Nuova Musica
“Patrick Terry brought ardour and expressiveness to Ruggiero. Alcina’s latest prey without sounding cloying or self-satisfied – indeed his legato was as clearly-focussed in the ravishing “Verdi prati” as it was controlled but heroic in the triumphant “Stal nell’Ircana.”
“As Ruggiero, Patrick Terry’s countertenor was sublime, with the consistency it showed in feeling truly dreamy from start to finish being remarkable. As a result, his sound seemed to flow naturally through even the most technically demanding parts of his arias.”
“Patrick Terry’s exquisite assumption of Ruggiero...“
“Particularly impressive was countertenor Patrick Terry who conveyed both Ruggierio’s initial boyish need for reasurance and affection, and his subsequent self-knowledge when he comes to appreciate the emptiness of his earlier happiness…I admired Terry’s singing when I first heard him perform in the Kathleen Ferrier Awards Final in 2017 (when h won the Song Prize), and the fullness of his tone and smoothness of line that I noted on that occasion have grown even more beguiling. ‘Verdi prati’ was the emotional heart of this performance, in which Ruggiero’s regret was enhanced by leader Anaïs Chen’s exquisite violin solo, but Terry was just as stirring in ‘Sta nell’Ircana’ – to which the natural horns of Anneke Scott and Joseph walters offered a vibrant, colourful complement – phrasing the exuberant runs stylishily and powering sonorously to the final cadence.”
“Patrick Terry as Ruggiero is at his exquisite best in the lilting Verdi prati.”
“…Patrick Terry’s heart-stopping accounts of the sublime love songs for Alcina’s besotted swain, Ruggiero…”
The Sunday Times
“…his excellent technique saw him sail through the virtuosic Sta nell’Ircana and his sensitive artistry was evident in the lyrical Verdi prati. Remember his name.”
“…the stars aligned when the stunnng young counter Patrick Terry dispatched Ruggiero’s sublime numbers, Mi lusinga il dolce affetto and Verdi prati, where time seemed to stop as the herby strings supported Terry’s cream and gold tones. In two words? Absolutely fabulous.”
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.”
Arsace: Berenice / Royal Opera, London
“Patrick Terry’s countertenor is sensational up close and personal in this smaller of the ROH’s two auditoriums.”
“...Terry’s combination of voice and acting an absolute joy.“
Seen and Heard International
“Patrick Terry is a scene stealer as Selene’s admirer Arsace.”
“Patrick Terry deploys Chaplinesque acting skills as well as being a countertenor of fine quality.”
Eustazio: Rinaldo / Glyndebourne Festival Opera
“Patrick Terry’s beautifully sung Eustazio…”
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.”
Artemis: Phaedra / Royal Opera, London
“Patrick Terry as Artemis negotiated improbable leaps between his baritone speaking voice and his golden countertenor.”
“…Patrick Terry (Artemis) acrobatic in the role’s vocal extremes…”
“Patrick Terry relished the demands of the role of Artemis, which forced his voice and low, down to a speaking baritone. His confident performance skilfully captured Artemis’ complexity.”
“Patrick Terry as an androgynous Artemus rose to the challenge of a part that covers the extremes from low baritone to high soprano.”
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.”