Toby Spence

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Toby Spence (born 22 May 1969, London) is a British tenor active internationally on the concert platform, in the opera house and in recordings across a wide range of classical music.[1][2]

Early life and studies

Spence was born into a musical family that had once owned the London piano manufacturer Squire Pianos. His father was a doctor, and his mother a pianist who worked as an archivist at the Royal College of Music.[3] She had also been personal assistant to Walter Legge and Yehudi Menuhin, and artists and musicians were regular lunch guests at the family home. He was educated at Uppingham School and gained an honours degree in music at New College, Oxford,[1] where he was a choral scholar and his teachers included Edward Higginbottom. He continued his vocal studies at the Guildhall School of Music and Drama, where he studied with David Pollard with whom he has continued vocal studies.[4] While still a student at Guildhall Spence appeared as Normanno in the Dorset Opera Lucia di Lammermoor in Sherborne in 1993.[5]

Career

Spence's professional debut was in 1995 as Idamante in Welsh National Opera's production of

Die Meistersinger under Antonio Pappano at La Monnaie in Brussels. At the same time he was performing on the concert platform in repertoire ranging from Beethoven's Missa Solemnis to Saint François d'Assise
by Messiaen.

Toby Spence has on-going connections with

Covent Garden, and reprised the role in the work's American premiere production at Santa Fe Opera. He has since performed the role of Antonio in the same opera.[6] Following The Tempest he has been invited back regularly to Covent Garden in operas by Rossini, Janáček and Wagner.[7]

He made his Proms debut in 1997, in a performance of the

Beethoven's Choral Symphony in 2011, Ivor Novello songs and the Berlioz Requiem in 2012, Britten War Requiem in 2014, and Elgar The Dream of Gerontius in 2015.[8]

During 2005 and 2006 his stage roles ranged from Tamino in

Il barbiere di Siviglia at Covent Garden and Tom Rakewell in Stravinsky's The Rake's Progress. The latter role was one Spence was keen to play from the start of his career, and he has sung it in several productions around the world.[2]

Although he sang in some recitals at the beginning of his professional career, he was dissatisfied with the result and set song to one side for several years. When he resumed recitals his repertoire included Poulenc, Brahms and Britten, as well as the original version of Les nuits d'été with piano.[1]

In an interview for the Paris Opera in 2008, Spence named Arsène Wenger as his non-musical hero.[2] A man of keen and wide interests, he regularly visits galleries and is a keen concert and cinema goer. He enjoys travelling and in 2003 spent four weeks backpacking around Iran, visiting several cities.[1] His marriage ended in divorce in 2001.[9] In December 2011, he was diagnosed with thyroid cancer, and underwent surgery in February 2012 to remove his glands and lymph nodes.[10][11] In May 2012, he received the award for Singer of the Year from the Royal Philharmonic Society, and that August sang in public at the Edinburgh Festival for the first time since his operation.

He made his debut as Aschenbach in Britten's Death in Venice in 2021 (filmed) for the Opéra national du Rhin in Strasbourg, described by one critic as "...powerfully voiced Aschenbach... disintegrate impressively, each utterance of "I, Aschenbach" refrain increasingly more wretched."[12]

In 2012, Toby and his brother, Magnus Spence, founded a festival of song at Wardsbrook, a farm in East Sussex where Magnus lives with his family. Since its inauguration they have presented recitals by Stéphane Degout, Sarah Connolly, Sir Thomas Allen, Christiane Karg, Felicity Lott, Ian Bostridge and Gyula Orendt. The aim of Wardsbrook is to promote the art of song and raise much needed funds for St Michael's Hospice in St Leonard's, Hastings, which provides palliative care for the community. In the first two years they raised nearly £60,000 for the establishment and running costs of a service that providing home-care for the elderly.

Recordings

Toby Spence has participated in many varied recordings, including songs by Liza Lehmann, Robert Schumann and Arthur Bliss, the Duo de l'ouvreuse de l'Opéra-Comique et de l'employé du Bon Marché by Chabrier, and in Volumes 32 & 35 of the Hyperion Schubert edition.

Other recordings included Parry's Job, Haydn's

La Rondine, Così fan tutte, Britten's Serenade for Tenor, Horn and Strings, Op. 31, Bantock's Omar Khayyám, the title role in Sullivan's Ivanhoe and Philip, Lord of Mirlemont in Sullivan's The Beauty Stone
.

References

  1. ^ a b c d e f Pines R. People 395: Toby Spence. Opera, November 2011, 1292–1300.
  2. ^ a b c Chanter la débauche et la perdition. Ligne 8. Le journal de l'Opéra National de Paris. Mars-Avril 2008, 21–22. (Interview with Toby Spence, in French).
  3. ^ Neil Fisher (15 November 2011). "Toby Spence on his role in Eugene Onegin" (PDF). The Times. Retrieved 1 November 2014.
  4. ^ Ashutosh Khandekar (November 2013). "The Road Ahead" (PDF). Opera Now. Retrieved 1 November 2014.
  5. ^ Forbes, Elizabeth. Opera on the Fringe - Lucia di Lammermoor: Dorset Opera at Sherborne School Hall, August 20. Opera, October 1993, Vol.44 No.10, p1247.
  6. ^ Tom Service (8 November 2012). "Toby Spence: 'I'll never take my voice for granted again'". The Guardian. Retrieved 1 November 2014.
  7. ^ Results for Toby Spence in the Royal Opera House Collections Online. accessed 4 November 2014.
  8. ^ https://www.bbc.co.uk/proms/events/performers/4484ff8d-035a-40ef-b9a4-de80c8653f8f/performances BBC Proms database search for Toby Spence], accessed 6 March 2024.
  9. ^ Erica Jeal (16 December 2005). "I can be a bit of a rake". The Guardian. Retrieved 1 November 2014.
  10. ^ Imogen Tilden (20 November 2012). "Tenor Toby Spence recovering from thyroid cancer". The Guardian. Retrieved 1 November 2014.
  11. ^ Rupert Christiansen (20 November 2012). "Toby Spence interview: 'The sounds that came out were terrifying'". Telegraph. Retrieved 1 November 2014.
  12. ^ Reed, Peter. Strasbourg report. Opera, July 2021, Vol.72 No.7, p884-885.

External links

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