Alex Ashworth is a concert singer based in the United Kingdom. His repertoire stretches from Berg to Monteverdi, with a special focus on Bach and Handel. Earlier in his career, Alex performed regularly in opera. His roles include the titles in Eugene Onegin, Wozzeck, Don Giovanni, Il Barbiere di Siviglia, Falstaff, and Il Signor Bruschino. Amongst others, he sang for Glyndebourne Festival Opera, Welsh National Opera, Scottish Opera, Opéra-Comique in Paris, Opéra de Lille and Icelandic Opera. More recently, balancing professional life with family, Alex has prioritised concert work. His solo work has taken him to many of the world’s great concert halls, including the Royal Albert Hall, the Carnegie Hall, the Hamburg Elbphilharmonie, the Philharmonie de Paris, the Berliner Philharmonie, with the Berlin Philharmonic, the Palau de la Música Catalana, the Duomo di Pisa, the Tonhalle in Zürich, the Shanghai Oriental Art Centre, the Wiener Musikverein, the Sydney Opera House, and, of course, Shakespeare’s Globe Theatre, reconstructed from ice, in Lapland. Alex has sung regularly for John Eliot Gardiner and features on his recordings of Bach, Berlioz, Schütz, Mendelssohn and Stravinsky. Alex is also a core member of the Baroque Collective “Solomon’s Knot”, with whom he has recorded Bach, Bach, and Bach.
Alex is a Professor of Singing at the Royal Academy of Music in London.
A similar full sound emerged in the too few solos for the bass-baritone Alex Ashworth, who was buttery in the Bach and commanding in his 11th hour entrance as Moderato in the Handel…
New York Times. Bach B Minor Mass, Handel L’allegro, il penseroso ed il moderato, Carnegie Hall
The virtue […] was obvious too in the sterling singing of Haman’s impersonator, the bass Alex Ashworth…
The Times. Handel Esther, Wigmore Hall.
Alex Ashworth was a superb Pilate, his leadership dignified, his doubts and weakness convincing and touching.
Opera Today, Bach St John Passion, Oxford Bach Soloists, filmed version.
Alex Ashworth’s Quia Fecit Mihi Magna steals the show: if one could bottle gravtias, this would be it.
Gramophone, Bach Magnificat, Christmas in Leipzig, CD, Solomon’s Knot.
The singers were individually often a joy - bass Alex Ashworth’s duetting with bassoonist Inga Maria Klaucke in “For He that is Mighty” is still resounding in my ear.
The Daily Telegraph, Bach Magnificat, Wigmore Hall.
in the Quoniam, for instance, exceptional horn player Anneke Scott stood shoulder to shoulder with heroic bass Alex Ashworth in a totally equal partnership.
The Guardian, Bach B Minor Mass, Spitalfields’ Festival