Elliot Madore

— Baritone

"As Anthony Hope, the young sailor who falls in love with Sweeney’s grown daughter, baritone Elliot Madore had one of the most promising voices in the cast. His creamy love song was endearing, and he showed great control of his range."
-Sarah Batschelet, BachTrack, December 11, 2018, Anthony Hope in 'Sweeney Todd' at Zurich Opera

“Canadian baritone Elliot Madore is a seasoned interpreter of Pelleas. His highly ­expressive performance captured his character’s youthful impetuousness and ­elegant Gallic ­ardour. Executing Pelleas’s regular sequences of fast vocal passagework with crystalline articu­lation, Madore’s subtly shaded sotto voce singing was equally masterful.”
Murray Black, The Australian, June 26, 2017 – Pelleas with Charles Dutoit and the Sydney Symphony

“His Mercutio further demonstrates the versatility and deep talent of this rising opera star.”
OperaWarhorses, July 29, 2016 - Mercutio in 'Roméo et Juliette' at Santa Fe Opera

“Elliot Madore as Pelléas not only has movie star quality, but lets his virile sound shine…Madore takes his high notes deliberately into the drama and makes it clear that this is a Pelléas of substance.”
Markus Thiel, Merkur, July 1, 2015 - Pelléas in 'Pelléas et Melisande' at Bayerische Staatsoper

“The confrontation with the stone guest also put the cap on a splendidly credible performance of the title role by the Canadian baritone Elliot Madore, who looks the part, magnificently so in his final defiance, and who sang throughout with considerable style and nuance.'
Martin Kettle, The Guardian, June 8, 2014 - Title role in 'Don Giovanni' at Glyndebourne

“Mr. Madore underplayed the darker moments of both cycles in masterly fashion. In the first song of the Mahler, “Wenn mein Schatz Hochzeit Macht,” the pain of the line “Weep, weep for my darling, for my dear darling,” was all the more intense for the reserve with which he handled both repetitions… he sang with exciting confidence and detail, delivering Poulenc’s elegantly bleak “Sanglots” with subtlety and concentration. He lingered for the slightest extra moment on the vowel in the last word of the Mahler cycle — “Traum” (“Dream”) — capturing in an instant the song’s melancholy beauty and showing the instincts and training of an exceptional recitalist…the evening was Mr. Madore’s.”
Zachary Woolfe, New York Times, January 17, 2012 - Carnegie Hall recital debut with the Marilyn Horne Foundation


Canadian baritone Elliot Madore has been praised for his “movie star quality” (Merkur) and “exceptional” artistry (New York Times).

In the 2018-2019, Elliot Madore returns to the Dutch National Opera in the European premiere of John Adams’ Girls of the Golden West directed by Peter Sellars, a role he premiered at the San Francisco Opera last season. He also returns to the Zurich Opera in a new production of Sweeney Todd as Anthony Hope and debuts as Figaro in Il barbiere di Siviglia at Manitoba Opera. He sings Carmina Burana with the Kalamazoo . . .

Learn More

Buy Online