Rhys Jenkins

Samling Artist Programme: 2008

Rhys Jenkins made his debut in Germany as JAGO in ‚Otello’ in summer 2014 at the International Music Festival at Gut Immling. The German Magazine Der neue Merker wrote: ‘The Welsh Rhys Jenkins gave his first Jago. No doubt, in future he will sing this part, which suits him perfectly, quite often.’

In summer 2015 he returns to Immling as Lindorf/Coppelius/Dr. Miracle/Dapertutto in The Tales of Hoffmann. At the beginning of the season 15/16 he sings Simon Boccanegra at the Osnabruck Theatre.

After reading Modern Languages in Edinburgh and Vienna, the Welsh baritone trained at the Royal Northern College of Music (RNCM), the Royal Scottish Academy of Music and Drama Opera School, (RSAMD) followed by the Cardiff International Academy of Voice where he was supported by BBC Wales and the Dennis O’Neill Foundation. He is a Britten-Pears Young Artist, Samling Artist, a Wingate Scholar and alumnus of the Solti Accademia di Bel Canto.

In the course of his training, Rhys Jenkins already performed the title role in Don Giovanni at the Verbier Festival Academy under the musical direction of Manfred Honeck and gave his debut recital at the Aldeburgh Festival singing Duparc Melodie and Mussorgsky’s Songs and Dances of Death. In Manchester he portrayed Dandini under Maestro Enrique Mazzola.

His operatic roles include Sid in Albert Herring, Dandini in La Cenerentola, Figaro in Il barbiere di Siviglia, Guglielmo in Così fan tutte, Schaunard, Marcello in La Bohème, Bottom in A Midsummer Night’s Dream, The Sorceress in Dido and Aeneas, Sharpless in Madama Butterfly, Peter in Hänsel und Gretel, Le Gendarme in Les Mamelles de Tiresias, Rodrigo in Don Carlo, Germont in La Traviata, Conte di Luna in Il Trovatore, the title role in Rigoletto, the title role in Giannia Schicci, Scarpia in Tosca and Tonio in I pagliacci, on which The Irish Mail on Sunday wrote: “Rhys Jenkins, as the lascivious Tonio, has a rich baritone, and he launches the opera, moving among the audience with a powerful rendition of the prologue”

Highlights of his busy concert diary are Brahms’ Requiem, Dvorák’s Mass in D, Maunder’s Jerusalem, Handel’s Messiah and Israel in Egypt, Stanford’sSongs of the Sea, Elgar’s Coronation Ode, Mozart’s Mass in C Minor, Berlioz’Messe Solennelle, Mendelssohn’s Elijah, Maunder’s Bethlehem, Bach’s St Matthew Passion and Rutter’s Mass for the Children.