Caspar Singh

British - Indian Tenor Caspar Singh is currently a member of the Ensemble at the Bayerische Staatsoper in Munich. In 2018, aged 21, he gained a place in the two year Opernstudio at the Bayerische Staatsoper. He recently received a first class degree from the Guildhall School of Music and Drama where he studied under Adrian Thompson and Susan Waters. 
In his 2020/21 season, his engagements with the Bayerische Staatsoper Ensemble include role debuts as Edmondo in Manon Lescaut, Borsa in Rigoletto, Der Haushofmeister bei Faninal in Der Rosenkavalier, Dritter Knappe in Parsifal, Gastone in La Traviata, Scaramuccio in Ariadne auf Naxos, the Prince in The Snow Queen, Oberpriester Poseidons in Idomeneo and Augustin Moser in Die Meistersinger von Nürnberg.
Outside of Munich, he will make his House and full role debut as Tamino in Die Zauberflöte at the Komische Oper Berlin and perform as the Tenor Soloist in St Matthew Passion at the Tiroler Festspiele Erl.
Future guest appearances include a house and role debut at Glyndebourne Opera and Male Chorus in The Rape of Lucretia with the Kammerakademie Potsdam.
In 2019/20, his engagements with the Bayerische Staatsoper before Covid 19 included his role debut as Castor in Rameau’s Castor et Pollux under the baton of Ivor Bolton, Hans Abrahamsen’s The Snow Queen (the German première) in which he covered the role of the Prince, Scaramuccio Ariadne auf Naxos as part of the 2020 Hong Kong Arts Festival, Wilhelm Meister in a new production of Mignon and Brabantische Edle in Lohengrin. He would have also reprised the roles of Erste Gefangener in Fidelio and Vorsänger in Eugene Onegin. 
In Caspar’s first season in Munich his roles included Messenger Il Trovatore, Mainfroid Les Vêpres Siciliennes, Erster Gefangener Fidelio, Giuseppe La Traviata, Vorsänger Eugene Onegin, Almeric Iolanta and Coryphaeus Alceste, the alongside concerts and recitals with the Opera Studio and at the Munich Opera Festival.
Caspar was an Alvarez Young Artist for Garsington Opera, where his engagements included Italian Tenor in Strauss Capriccio and chorus roles in Die Zauberflöte and Falstaff. He has sung in masterclasses with Helmut Deutsch, Brigitte Fassbaender, Graham Johnson, Edith Wiens and Margreet Honig, and has worked with conductors including Douglas Boyd, Asher Fisch, Kirill Petrenko and Joana Mallwitz.
Further Opera performances include Ferrando in Mozart’s Cosi fan tutte, L’Aumônier (cover) in Poulenc Dialogues des Carmélites, Tamino (abridged) in Mozart The Magic Flute, Young Man (cover) in Martinů Ariane, Amphinomus (cover) in Monteverdi Il ritorno d’Ulisse in patria; a co-production between the Royal Opera and the Roundhouse conducted by Christian Curnyn, Man in Daniel Saleeb and Oge Nwosu’s chamber opera Occo’s Eternal Act (as part of the Victoria & Albert Museum’s Opera: Passion, Power and Politics exhibition), the Good Robber in Judith Weir’s The Vanishing Bridegroom with British Youth Opera, and chorus roles in Beethoven Fidelio at Longborough Festival Opera and in the UK premier of Jonathan Dove’s The Monster in the Maze at Barbican Hall with Sir Simon Rattle and the London Symphony Orchestra.
On the concert platform Caspar has performed Handel Messiah, Bruckner Te Deum at LSO St. Luke’s, Britten Saint Nicolas, Haydn Nelson Mass, Orff Carmina Burana, Stainer Crucifixion, Mozart Requiem, Dvořák Mass in D, Haydn Creation, and Dvořák Stabat Mater. A keen recitalist, his recent performances include Britten Winter Words and Seven Sonnets of Michelangelo and Schubert Die Schöne Mullerin