Michael Martin

Michael was a member of The Australian Opera’s Esso Young Artist’s Development Program in 1990. His roles for Opera Australia include: One of the apprentices in Die Meistersinger von Nurnberg, Luiz and Marco in The Gondoliers, Motel in Fiddler on the Roof, Piquillo in La Perichole, Harry Robarts in Voss, Nanki-Poo in The Mikado, Don Ottavio in Don Giovanni, Tamino in The Magic Flute, Oronte in Alcina, Flute in A Midsummer Night’s Dream, Count Almaviva in The Barber of Seville, Fenton in Falstaff, Pedrillo in The Abduction from the Seraglio, Chevalier de la Force in Dialogues of the Carmelites, Kudrjash in Katya Kabanova and Brighella in Ariadne auf Naxos. Other performances include: Ferrando in Cosi fan tutte and Don Ottavio in Don Giovanni for State Opera of South Australia; Alfred in Die Fledermaus, Romeo in Romeo and Juliet, Arturo in Lucia di Lammermoor, Count Almaviva in The Barber of Seville and Peter Quint in The Turn of the Screw for Opera Queensland; Camille in The Merry Widow for West Australian Opera.


Michael has appeared with many of Australia’s leading orchestras and choirs including: The Australian Pops Orchestra, all of the Symphony Australia Symphony Orchestras, Canberra Symphony Orchestra, Sydney Philharmonia Choir and Sydney Chamber Choir, Canberra Choral Society and The Llewellyn Choir. His concert repertoire includes: the Evangelist and tenor solos in Bach’s St. Matthew Passion, St. John Passion and Christmas Oratorio; Haydn’s The Creation and Imperial Nelson Mass; Mozart Requiem in D minor and Coronation Mass; Handel’s Messiah; Britten St. Nicholas.