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 Joan Gordon, Pat McMahon and Paul Farrington.
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.
On the operatic stage, Roger has performed as:
- Giuseppe (and cover of Gaston), La Traviata, (Longborough Festival Opera)
- Rodolfo, La Bohème, (OLIVIER nominated, King’s Head Theatre transfer to 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)
- The Scholar, The Wandering Scholar, (Opera Northern Group)
In 2019 his plans include performing the role of Don José in the King’s Head brand new production of Carmen, returning to the role of Count Almaviva in Opera Brava’s production of Il Barbiere di Siviglia, and performing as Alfredo in their brand new production of La Traviata.
His plans also include opera galas in Glasgow and Edinburgh.
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
Repeat performances planned in 2019 for Music Inverness, Music in Thurso and for Classic Music Live! Falkirk, Music Nairn and Melrose Music Society.
Tenor Roger Paterson throws his energy into the role of José … it’s a full-on sound experience, with plenty to enjoy.
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.
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.
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.
…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 […]