The Boston Musical Intelligencer recently credited bass-baritone Matthew Burns with “a rare combination of comic timing, musical ability and stellar acting.” His 2018-2019 season included Suplice in La fille du regiment with Opera Carolina, Dulcamara in L’elisir d’amore with Virginia Opera, Dr. Bartolo in Il barbiere di Siviglia with Opera Roanoke, and Dansker in Billy Budd with Central City Opera. The 2019-2020 season sees him join the Metropolitan Opera roster for Die Zauberflöte, return to Michigan Opera Theatre as Leporello in Don Giovanni and Opera Omaha as Lorenzo in I Capuletti e i Montecchi, and join Festival Napa Valley for Goodbye Mr. Chips.


A master-interpreter of comedic roles, Mr. Burns is highly sought-after as Leporello in Don Giovanni, which he has performed with Utah Opera, Boston Lyric Opera, Austin Lyric Opera, Opera Memphis, Opera Cleveland, and Opera Omaha. He is also well-known for his performances of Doctor Bartolo (Opera Roanoke, Lyric Opera of Kansas City, Virginia Opera, Opera Omaha, Orlando Philharmonic) and Don Basilio (Dayton
Opera, Florida Grand Opera, Sarasota Opera), both in Il barbiere di Siviglia, and Figaro in Le nozze di Figaro (Virginia Opera, Opera Grand Rapids).

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"the production was brimming with excellent performances . . . Seasoned veteran bass-baritone Matthew Burns brought comedic and vocal flexibility to the workhorse Leporello. . . Ricardo Lugo lent his huge, round bass sound to the ghostly Commendatore."

-Opera News

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"Mr. Burns Leporello, written brilliantly by Mozart to be wise and world-weary, as well as comically put upon, delivered on his character and singing to great achievement, stealing many scenes."

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“Figaro’s nemesis, Dr. Bartolo, is sung by Matthew Burns in a bass-baritone that brings another dimension of smart joy to the performance. Burns elicits some of the evening’s biggest laughs.”
-The Roanoke Times

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"In playing Belcore, Corey Crider unleashes a rich baritone voice that's almost too profound for his character. And Crider made the most of the comedic possibilities in a soldier who loves women — a lot — but loves himself much more. Likewise, Matthew Burns delighted t...


"Stage director Brian Stauffenbiel told Poe's story in a straightforward manner, which lent a solid footing to the unearthly aspects of the story. . . Burns sang with a wiry bass voice that fit well into the concept of a comic ghost who was more afraid of the teenage t...

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