Born in Barcelona, Joan Martín-Royo studied piano, violin, bassoon and composition at the Conservatori Superior de Música del Liceu and also gained a degree in History of Art from the University of Barcelona. He underwent his vocal studies with soprano Mercè Puntí and has also received masterclasses from Christa Ludwig, Elisabeth Söderström, Thomas Quasthoff and Lorraine Nubar. He has also worked on vocal technique with bass-baritone Carlos Chausson and on vocal coaching with pianist Marco Evangelisti.
At the present time he works on vocal technique with Didier Laclau-Barrère and on acting and body language with Arnaud Décarsin.
He has received awards at several prestigious singing contests including the Third Male Prize, the Mozart Prize and the Plácido Domingo Award at the 2003 Francisco Viñas Competition. He was also Preisträger from the 2002 Sommerakademie at Salzburg’s Mozarteum (as best Lieder singer).
His operatic repertoire focuses especially on Mozart and Rossini: Figaro in Le Nozze di Figaro (Liceu Barcelona / Champs-Elysées, Paris), Guglielmo in Così fan tutte (Palau de les Arts Reina Sofia, Valencia / Théâtre des Champs Elysées and Liceu Barcelona), Papageno in Die Zauberflöte (Liceu Barcelona / Ópera de Oviedo / Teatro Municipal, Santiago), Masetto in Don Giovanni (Opéra de Monte Carlo), Dandini in La Cenerentola (Glyndebourne), Lord Sidney in Il Viaggio a Reims (La Monnaie, Brussels), Macrobio in La Pietra del Paragone (Théâtre du Châtelet, Paris / Teatro Regio di Parma,) Figaro in Il barbiere di Siviglia (Théâtre des Champs-Elysées) and Don Parmenione in L’occasione fa il ladro (Teatre Lliure, Barcelona).
Other roles include Rodomonte in Haydn’s Orlando Paladino (Châtelet, Paris), Colombo in Carnicer’s Cristoforo Colombo (Teatro de la Maestranza, Sevilla), Albert in Werther (Ópera de Las Palmas / Festival Mozart A Coruña), Lescaut in Manon (Liceu), Marcello in La Bohème (Komische Oper Berlin), Belcore in L’elisir d’amore (Liceu Barcelona / Opera di Roma), Ned Keene in Peter Grimes (Santiago, Chile), Don Quijote in De Falla’s El Retablo de Maese Pedro (Palais des Beaux-Arts, Brussels / Liceu Barcelona / Halle aux Grains, Toulouse / Palau de les Arts, Valencia / Auditori de Barcelona), Mr. Astley in Prokofiev’s The Gambler (Liceu Barcelona), Don Mariano in Chapí’s Curro Vargas (Teatro de la Zarzuela, Madrid) and Mercutio in Roméo et Juliette (Teatro Real, Madrid / concert version conducted by Michel Plasson).
Mr. Martín-Royo is also very interested in performing Contemporary Opera; highlights include creating the roles of surrealist painter Salvador Dalí in Xavier Benguerel’s Yo, Dalí (Teatro de la Zarzuela, Madrid / Teatro Liceu, Barcelona), Walt Whitman in García Demestres’ WOW! (Festival Castell de Peralada, Girona), Pedrosa in Mariana en sombras by G. Demestres (Auditorio de Granada), Mercader in Salvador Brotons’ El mercader de somnis (Winterthur Auditorium, Barcelona). He has also sung the world première of García Demestres’ oratorio Contes, tirallongues, jocs i colors and the European première of Daniel Schnyder’s The revelation of St. John (both at the Auditori de Barcelona). He has recently performed the role of Horemhab (in Philip Glass’ Akhnaten) in the new Lucinda Childs production for Opéra de Nice-Côte d’Azur.
On the concert platform he has enjoyed appearances with The Orchestra of the Age of Enlightenment, Al Ayre Español, La Grande Écurie et la Chambre du Roy, Ensemble Matheus, Orchestre du Théâtre du Capitole de Toulouse, National Orchestra of Spain, Symphony Orchestra of Barcelona and the Hungarian Radio Orchestra. Some of his engagements include his US début singing Messiah with the National Symphony Orchestra / Rinaldo Alessandrini (at the Kennedy Center, Washington), Mendelssohn’s Die erste Walpurgisnacht in Mallorca / Víctor Pablo Pérez, Haydn’s Die Schöpfung with the Orchestra of Cannes Provence-Alpes-Côte d’Azure / Philippe Bender, Christus in Bach’s St Matthew Passion with Al Ayre Español / Eduardo López Banzo, Pilatus and the bass arias in Bach’s St John Passion with Real Filarmonía de Galicia / Frans Brüggen and the Fauré’s Requiem at Festival de Músiques Religioses i del Món de Girona / John Rutter. He has also performed Bach’s Lutheran Masses (Concertgebouw Amsterdam), Mozart’s Requiem, Krönungs-Messe and Vesperae solennes de confessore (Palau de la Música, Barcelona / Salle Philarmonique de Liège), Brahms’ Ein Deutsches Requiem (Auditori de Girona), Wolf-Ferrari’s Talitha Kumi! (Auditorio Príncipe Felipe, Oviedo), Pablo Casals’ El Pessebre (Opéra de Montpellier / Auditori de Barcelona / Liceu de Barcelona) and De Falla’s L’Atlàntida (National Auditorium, Madrid).
A keen recitalist, Martín-Royo has collaborated with distinguished accompanists such as Helmut Deutsch, Dalton Baldwin, Norman Shetler, Roger Vignoles, Pierre Réach and Rubén Fernández Aguirre performing Schubert, Schumann, Wolf, Beethoven, Loewe, Mendelssohn, Ibert, Ravel, Duparc, Poulenc, Hahn, Granados, Pedrell, Montsalvatge and Guinjoan in the Schubertiades in Vilabertran and Barcelona, at the Leigthon House Museum (London), Grosser Saal and Wiener Saal (Mozarteum, Salzburg), Palau de la Música (Barcelona), Fundación Juan March (Madrid), Festival Piano Pic (France).
He has recorded Ànima (a disc of opera arias with the Orquestra Simfònica del Gran Teatre del Liceu / Josep Vicent), García Demestres’ operas Mariana en sombras and Aprima’t en 3 dies and has been one of the fifteen Spanish singers invited to take part in the recording series of Antón García Abril’s complete set of Lieder and Melodies. He has also recorded Schubert’s Winterreise (alongside pianist Pierre Réach) and Wolf-Ferrari’s Talitha Kumi (under the baton of Friedrich Haider).
His most remarkable DVD releases include La pietra del paragone (for Naïve) and the BBC’s cartoon production of Janácek’s The cunning little vixen (performing the role of the Forester under Kent Nagano in the Spanish and Catalan versions).
He has recently sung Papageno in Die Zauberflöte under the Ivor Bolton (Teatro Real, Madrid), Taddeo in L’italiana in Algeri (Théâtre du Capitole de Toulouse; Antonino Fogliani, conductor / Laura Scozzi, producer), Guglielmo in Così fan tutte (Opera de Oviedo; Benjamin Bayl, conductor / Guy Joosten, producer), Albert in Werther (Liceu de Barcelona; Alain Altinoglu, conductor / Willy Decker, producer), Malatesta in Don Pasquale (Teatro de la Maestranza de Sevilla; Corrado Rovaris, conductor / Laurent Pelly, producer), Dandini in La Cenerentola (Santiago, Chile; José Miguel Pérez-Sierra, conductor / Jérôme Savary, producer), Schaunard in La Bohème Teatro Real, Madrid; Paolo Carignani, conductor / Richard Jones, producer), Albert in Werther (Palma de Mallorca; Cristóbal Soler, conductor / Graham Vick, producer), Taddeo in L’italiana in Algeri (Festival de El Escorial and in the Quincena Musical de San Sebastián; Paolo Arrivabeni, conductor / Joan-Antón Rechi, producer) and Ping in Turandot in the Teatro Real (new production by Robert Wilson conducted by Nicola Luisotti; available on DVD and Blu-Ray). We also have to remark his first collaboration with conductor Gustavo Dudamel performing Beethoven’s “Ninth Symphony” in Santiago de Compostela (Spain).
He has performed the role of Papageno in the Barrie Kosky Die Zauberflöte production in Perth and Adelaide (Australia), in Aukland (New Zealand), in Teatro Real (Madrid) and at the Opera di Roma.
Some of his future engagements include: the Count (in Mozart’s Le nozze di Figaro) in Teatro Real and Opéra de Metz; Papageno in Liceu Opera Barcelona (under the baton of Gustavo Dudamel) and Schaunard (La Bohème) in Madrid (Teatro Real).
Joan Martín-Royo is represented for United Kingdom. For all enquiries please contact Caroline Phillips email@example.com
Die Zauberflöte – Teatro Real, Madrid
You cannot fault the Papageno of Joan Martín-Royo whose voice is perfectly suited to the role of the bird catcher.
Opera World, 20 January 2016
Papageno (played by Joan Martín-Royo – sensational …)
Punta Fina, 18 January 2016
Papageno, played with genius by Joan Martín-Royo …
El Imparcial, 17 January 2016
Joan Martín-Royo made a perfect Papageno … with a smooth and agile voice and excellent German diction.
El Pais, 17 January 2016
L’elisir d’amore – Liceu Opera House Barcelona
Catalan baritone Joan Martin-Royo was magnificent as Belcore, gave his own character to the role and sang with elegance
La Vanguardia, May 2013
The versatility of Joan Martín-Royo continues to amaze: Weeks after a his poignant Arias from The ‘St. John Passion’ at the Palau, the Catalan baritone displayed his talent for comedy as a cocky Belcore.
Ara, May 2013
Joan Martín-Royo represented a perfect Belcore, accentuating his cockiness with trademark gestures and precise articulation of words and actions.
Revista Musical Catalana, May 2013
The elegant Catalan baritone Joan Martin-Royo, in the role of Sergeant Belcore, was noted for his careful phrasing and a clean and precise vocal production.
Sonograma Magazine, May 2013
Die Zauberflöte – Liceu Opera House Barcelona
An uninhibited Joan Martín-Royo excelled as Papageno, totally at ease on the stage, he is the owner of a beautiful voice.
ABC, April 2012
The baritone Joan Martín-Royo conquered the audience with a fun, well-sung Papageno
Ara, April 2012
Joan Martín-Royo took advantage of Joan Font’s stage direction and offered a nuanced Papageno which was outgoing and vocally rounded. Overall this has been the most important contribution of his career to date.
Revista Musical Catalana, April 2012
This season has seen the emergence of Joan Martín-Royo at the Liceu, with three strong roles of which, following Benguerel’s Dalí and the other Mozart role (Figaro), Papageno was the icing on the cake. His good-natured stage presence, never exaggerated or vulgar, coupled with a meticulous song line, show the great Catalan baritone of the moment.
Avui / El Caminant Errant, April 2012
The Spanish baritone Joan Martín-Royo was sensational in the role of Papageno. He has a beautiful high-quality voice that can always be clearly heard. Artistically he was unbeaten in the role.
Opera Fanatics, April 2012
Joan Martín-Royo has always confessed, both publicly and privately that his favourite composer is Mozart, and Papageno his most beloved role. I had heard a recording from Chile several years ago and now live it has been confirmed: Martín-Royo IS Papageno.
Dietari Operístic / Catalunya Música, April 2012
This stunning Flute has benefitted from a delightful and very strong Papageno, baritone Joan Martín-Royo, who holds the attention of the entire audience and portrays the character perfectly. His humour and tenderness arouse public empathy. Bravo!
Moments d’Òpera / COM Ràdio, April 2012
Joan Martín-Royo’s Papageno is a prodigy. Perfect vocally, musically exquisite, and as an actor, completely attuned to the extroverted vision of [director] Joan Font, he becomes his alter ego.
In fernem Land, April 2012
Joan Martín-Royo stole the show as Papageno, as any good interpreter of this role should. He was excellent both singing and acting
Seen and Heard International
La Cenerentola – Glyndebourne on tour
Joan Martín-Royo was effervescent in the buffo role of Dandini.
The Telegraph, 15 October 2010
What really lifted the production, however, was the comic performances of Joan Martín-Royo as Dandini the valet and Jonathan Veira as Don Magnifico
Daily Express, 15 October 2010
The Catalan Joan Martín-Royo delivers a spirited Dandini, his byplay with the Prince, stylish.
The Guardian, 11 October 2010
Le Nozze di Figaro – Théâtre des Champs-Elysées
Figaro est incarné par un chanteur encore peu connu, Joan Martín-Royo. Malgré sa jeunesse, le baryton espagnol personnifie à merveille ce rôle qui semble avoir été taillé pour lui: il mêle un jeu plein de spontanéité juvénile et d’espièglerie à une voix bien timbrée, ronde et souple, mais qui ne cesse jamais d’être ferme et parfaitement posée notamment dans ses arie «Signori di fuori» et «Aprite un po’ quegliocchi».
Le très beau Figaro incarné par le jeune Joan Martín-Royo allie avec spontaneité la magie du chant et un sens su théâtre tout à fait incroyable
Cosi fan Tutte – Tourcoing
Dans cette distribution, on a le plaisir de retrouver Joan Martín-Royo, excellent Figaro, tout aussi à l’aise en Guglielmo, auquel il prête une voix décidément très belle, au timbre riche, rond et chaud, et au style impeccable. Loin de ne traiter que l’aspect bouffon de son personnage, il lui donne de surcroît une épaisseur, une inquiétude devant la gravité de la comédie qu’il est en train de jouer, qui ne sont pas courantes.”
ClassiqueInfo, March 2010