Bio
About
Roger Paterson
Roger Paterson’s music training began at the Junior Academy of Music at the Royal Conservatoire of Scotland (RCS) and continued at the University of Glasgow where he gained an honours degree in Musicology in 2007. He has since studied with Paul Farrington and Tim Richards.
He has given solo recitals in a variety of venues around the United Kingdom: for Reger Festival, Swiss Church/London, at Ayr Town Hall and Pollok House/Glasgow and he gave a Russian Song recital for the Sphere Concert Series, Renfield St Stephens Church/Glasgow.
In 2014, he became a founding member of Scozzesi and has performed at:
- The Byre Theatre/St Andrews
- Music Inverness
- Music in Thurso
- Biggar Music Club
- Strathearn Music Society
- Ayr Music Club
- Music in Dollar
- Osprey Music Society
- Forest Hills/Aberfoyle
- Newton Stewart and District Music Club
- Ross Priory/Gartocharn
- Winter Palace/Glasgow Green
Roger has worked as a professional opera singer since May 2015 and on the operatic stage, he has performed quite a few roles now, including:
- Emeute and Telemaco (cover), The Return of Ulysses, (Longborough Festival Opera)
- Giuseppe (and cover of Gaston), La Traviata, (Longborough Festival Opera)
- Pierre, The Wandering Scholar, (Northern Opera Group)
- Count Almaviva, Il Barbiere de Seville, (Opera Brava)
- Rodolfo, La Bohème, (OLIVIER nominated, The Trafalgar Studios/ London)
On the operatic stage, Roger has performed as:
- 1st Japanese Emissary (cover), The Nightingale, (Welsh National Opera)
- Giuseppe (and cover of Gaston), La Traviata, (Longborough Festival Opera)
- Rodolfo, La Bohème, (OLIVIER nominated, The Trafalgar Studios/London)
- Cavaradossi, Tosca, (OFFIE winner, King’s Head Theatre/London)
- Mozart, Mozart and Salieri, (OFFIE nominated, Time Zone Theatre/London)
- Turridu, Cavalleria Rusticana, (Kentish Opera)
- Nadir, Les Pêcheurs de Perles, (Edinburgh Grand Opera)
- Claudio, Much Ado About Nothing, (Opera Northern Group)
In 2020 his plans include performing the roles of Cavardossi in Opera Undone's version of Puccini's Tosca, and Rodolfo and Mimi in Opera Undone's new gay version of Puccini's La Boheme. He will be working with Welsh National Opera for the first time this year covering the 1st Japanese Emissary in Stravinsky’s The Nightingale, which is a contrasting double bill: the enchanting fairy tale, The Nightingale and the dark and menacing story of Bluebeard’s Castle, staring Sir Bryn Terfel.
This summer, 2021, sees Roger performing the lead tenor role of Count Almaviva in Opera Brava’s tour of Rossini’s, The Barber of Seville, performing the lead tenor role of Pierre with Northern Opera Group in Holst’s, The Wondering Scholar and performing the lead tenor of Ernesto with Opera Novella in collaboration with Birmingham Music Conservatoire in Donizetti’s, Don Pasquale. He will also cover the roles of Emeute and Telemaco in Longborough Festival Operas production of The Return of Ulysses.
Carmen review – throws his energy into the role of José
Tenor Roger Paterson throws his energy into the role of José … it’s a full-on sound experience, with plenty to enjoy.
Carmen review – a convincing embodiment
Reduced to its central doomed trio of Carmen, Jose and Escamillio, Mary Franklin‘s translocation from 1820 Seville to 2019 London works wonders. Nothing is lost, everything is transformed… [Paterson’s] Jose is a convincing embodiment of manipulative and abusive partners – whiny, angry, defeated, pleading, violent.
La Bohème review – compelling, powerful and relevant
Paterson’s Ralph is exhilarated, raw and on the side of a savior complex in need of therapy, while Isherwood’s Mark is grandiloquent in his pain and manichean in his opinions. Both bounce off of each other with credibility, efficiency and grinding humour.
Opera in the City Festival Double Bill, Mozart and Salieri – Bridewell Theatre, London
Nick Dwyer’s soothing tones, a rich and deep voice that washes smoothly around this former swimming pool’s walls. As Mozart, his friend and target, Roger Paterson is a chipper and energetic fellow – providing clear colour and bounce to the music.
Review of Tosca at the King’s Head Theatre
…the vocal masterclass here is given by Paterson’s Cavaradossi. Paterson’s tone is rich and warm, full of loving tenderness without compromising in power or timbre. He pitches the perfect amount of vibrato to add depth to his vocal and still keep control of the melody. It’s an assured performance that is often only found after […]