Anthony Gregory

Tenor

Hailed by The Sunday Times’ Hugh Canning as the “Mozart tenor to watch,” Anthony Gregory is admired for his unique timbre, stage presence, and musicality. A former Jerwood Young Artist at Glyndebourne and alumnus of both the National Opera Studio and the Royal College of Music, Gregory was named one of opera’s future stars by esteemed critic Rupert Christiansen and won the 2015 Breakthrough Artist Award at the WhatsOnStage Opera Poll following his standout performance as Peter Quint in The Turn of the Screw. His successes include appearances with Glyndebourne Festival, Royal Ballet and Opera, English National Opera, Festival d’Aix-en-Provence, Teatro Real in Madrid, Bergen Opera, Opernhaus Zürich, Scottish Opera, and Norwegian National Opera in Oslo.

In the 2025–26 season, Gregory makes two highly anticipated debuts, including his return to Opernhaus Zürich in his role debut in the title role of Glaucus et Scylla under the baton of Emmanuelle Haïm, and his company debut with Santa Fe Opera as Grimoaldo in Rodelinda with Harry Bicket. On the concert platform, he performs Glaucus et Scylla with Le Concert d’Astrée, appears as the tenor soloist in Bach’s Mass in B Minor, performs Handel’s Messiah with the Irish Baroque Orchestra and Bournemouth Symphony Orchestra, and joins The English Concert and Harry Bicket for a concert at Wigmore Hall.

During the 2024–25 season, Gregory made a series of exciting role and company debuts: as Achilles in Iphigénie en Aulide at Greek National Opera, Oronte in Alcina at Opera di Roma, and the title role in Mitridate, Re di Ponto in a return to Staatsoper Hamburg. Other highlights included his return to the role of Flute in Laurent Pelly’s production of A Midsummer Night’s Dream at Opéra de Lausanne and Haydn’s Nelson Mass with the Scottish Chamber Orchestra under the baton of Maxim Emelyanychev.

Further operatic highlights include his mainstage debut at the Royal Opera House, Covent Garden, as Ferrando (Così fan tutte); a widely praised debut as the Leper in Messiaen’s Saint François d’Assise at the Elbphilharmonie with Staatsoper Hamburg; Almaviva (Il barbiere di Siviglia) for Scottish Opera; Ferrando at Opera North; and Acis in Acis and Galatea at Opera Holland Park. He has performed Pane (La Calisto) at Bayerische Staatsoper; featured in Christian Spuck’s Monteverdi ballet at Opernhaus Zürich; and appeared as Flute in A Midsummer Night’s Dream at Opéra de Rouen. Other engagements include Don Ottavio in Oslo, Oronte in Alcina at Teatro Real and the Festival d’Aix-en-Provence, and multiple roles with Glyndebourne Festival and Tour, including Peter Quint, Don Ottavio, Flute, and Vafrino (Hipermestra). He also created the role of Florizel in The Winter’s Tale and performed numerous roles with English National Opera as a Harewood Artist, such as Colonel Fairfax (The Yeomen of the Guard), Nanki-Poo (The Mikado), and Haemon (Thebans).

In concert, Gregory has performed with many of Europe’s leading orchestras and conductors. Notable highlights include Messiah with the Royal Scottish National Orchestra, Irish Baroque Orchestra, Dunedin Consort, and English National Opera; Carmina Burana with the London Philharmonic Orchestra, Oslo Philharmonic, and Lahti Symphony Orchestra; and Mozart’s Requiem with the Glyndebourne Chorus and Orchestra. He has sung Bach’s St Matthew Passion with BBC NOW and Harry Bicket, St John Passion with Les Arts Florissants and William Christie, and Bach’s Mass in B Minor at the Edinburgh International Festival. Gregory appeared at the BBC Proms in Hugh Wood’s Scenes from Comus and Britten’s Serenade for Tenor, Horn and Strings, and performed Savitri with Britten Sinfonia under Sir Mark Elder. Additional credits include La concordia de’ pianeti with La Cetra Barockorchester, Acis and Galatea with Trevor Pinnock and La Nuova Musica, and a solo recital at the Lufthansa Baroque Festival.

Gregory, previously a Jerwood Young Artist at Glyndebourne, is an alumnus of the National Opera Studio and the Royal College of Music.

 

 

Performances

MARCH 27 2026

Glaucus, Glaucus et Scylla; Opernhaus Zürich

Zürich, Switzerland

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MARCH 29 2026

Glaucus, Glaucus et Scylla; Opernhaus Zürich

Zürich, Switzerland

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MARCH 31 2026

Glaucus, Glaucus et Scylla; Opernhaus Zürich

Zürich, Switzerland

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APRIL 2 2026

Glaucus, Glaucus et Scylla; Opernhaus Zürich

Zürich, Switzerland

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APRIL 6 2026

Glaucus, Glaucus et Scylla; Opernhaus Zürich

Zürich, Switzerland

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More Dates

Performances

MARCH 27 2026Glaucus, Glaucus et Scylla; Opernhaus ZürichZürich, SwitzerlandBuy Tickets
MARCH 29 2026Glaucus, Glaucus et Scylla; Opernhaus ZürichZürich, SwitzerlandBuy Tickets
MARCH 31 2026Glaucus, Glaucus et Scylla; Opernhaus ZürichZürich, SwitzerlandBuy Tickets
APRIL 2 2026Glaucus, Glaucus et Scylla; Opernhaus ZürichZürich, SwitzerlandBuy Tickets
APRIL 6 2026Glaucus, Glaucus et Scylla; Opernhaus ZürichZürich, SwitzerlandBuy Tickets
APRIL 30 2026Glaucus, Glaucus et Scylla; Opernhaus ZürichZürich, SwitzerlandBuy Tickets
MAY 2 2026Glaucus, Glaucus et Scylla; Opernhaus ZürichZürich, SwitzerlandBuy Tickets
JULY 25 2026Grimoaldo, Rodelinda; Santa Fe OperaSanta Fe, NM, United StatesBuy Tickets
JULY 29 2026Grimoaldo, Rodelinda; Santa Fe OperaSanta Fe, NM, United StatesBuy Tickets
AUGUST 7 2026Grimoaldo, Rodelinda; Santa Fe OperaSanta Fe, NM, United StatesBuy Tickets
AUGUST 11 2026Grimoaldo, Rodelinda; Santa Fe OperaSanta Fe, NM, United StatesBuy Tickets
AUGUST 21 2026Grimoaldo, Rodelinda; Santa Fe OperaSanta Fe, NM, United StatesBuy Tickets

Press

Anthony Gregory’s Quint, younger and handsomer than most, sounds disquietingly beautiful.

Guardian

Anthony Gregory’s Quint is exquisitely sung, his villain all the more disturbing for his vocal beauty.

Spectator

Audacious happiness radiated from Anthony Gregory… Gregory used his lovely, warm tenor to raise Florizel above the stereo-type of ‘disguised lover-prince’, showing him to be both gallant and headstrong.

Opera Today

Anthony Gregory was quite a virile Acis, well away from the soppy wimp that the character can be, and Gregory’s performance reminded me of his fine accounts of haut contre roles.  He had the ability to sing with great strength of line whilst also shaping the phrase beautifully.  And yes, it was haunting too.

Opera Today

There is no tenor I would rather hear singing the ineffable ‘Love in her eyes’ than Anthony Gregory, who combines beauty and strength of tone in an exceptionally rare way.

Opera Now

He is a most poetic and musical Handelian.

Hugh Canning, Opera

Releases

Balfe: Satanella
Arne: The Judgement of Paris

MWA