Polyphemus (Acis and Galatea), Potsdamer Winteroper, November 2023
S’agissant de la pastorale Acis und Galatea (version allemande, réorchestrée par Mozart) en revanche, c’est le baryton basse Michael Mofidian qui tire le mieux son épingle du jeu. Un jeu à la séduction toute lascive, absolument irrésistible. Ses deux airs, percutants, ont mis le public en effervescence.
Ruggero Meli, Baroque News
Michael Mofidian bringt als Polyphem so viel komisches Talent (und vokalen Wumms) mit, dass er mit dieser Karikatur eines Dummdödels doch die Sympathie des Publikums findet.
Jan Brachmann, Frankfurter Allgemeine Zeitung
Denn nachdem der Zyklop Polyphem in seiner plumpen Macho-Art vergeblich um Galatea geworben hat, kam es zu einem tödlichen Kampf. Mit seinem komödiantischen Talent und seinem dynamischen Bass versteht es Michael Mofidian, den Unhold zu entdämonisieren.
Karim Saab, Märkischer Allgemeine Zeitung
Wie so oft ist auch hier der Böse die interessanteste Figur: Michael Mofidian macht aus Polyphem einen gehörnten, urwüchsigen, wilden Breakdancer, der den Stolz auf seine Männlichkeit offen zur Schau stellt und in dessen Wahrnehmungshorizont die Möglichkeit, zurückgewiesen zu werden, einfach nicht vorgesehen ist.
Udo Badelt, Tagesspiegel
But the show was all but stolen by Michael Mofidian, a charmingly awkward Polyphemus turned murderous by erotic frustration.
Carlos María Solare, Opera
Créon (Cherubini MéDée), Teatro Real Madrid, September 2023
Michael Mofidian was a noble-voiced Créon.
Victoria Stapells, Opera
… le baryton-basse britannique Michael Mofidian qui, dès ses premières phrases, montre une intelligence du texte et des récitatifs qui force le respect et permet encore davantage d’apprécier, dans son air « Frémissez… », des graves abyssaux : un interprète à réentendre absolument.
Hervé Casini, Première Loge
Creón estuvo a cargo de Michael Mofidian, un joven bajo barítono, de voz luminosa y expresiva con gran ductilidad.
José Maria Marco, Ópera Actual
Muy interesante también el material y las maneras demostradas por Michael Mofidian en su desempeño como Creonte.
Alejandro Martinez, Platea
… en conjunto nos resultara superado por un excelente Creonte del bajo-barítono británico Michael Mofidian.
José Catalán Deus, Periodista Digital
Tippett A Child of our time with sir Andrew Davis and RSNO, eIF, august 2023
Michael Mofidian was an authoritative narrator, his dramatic clear voice cutting through Tippett's vibrant music.
David Smythe, Bachtrack
Richly-hued Scottish-Iranian bass Michael Mofidian and elegant American tenor Russell Thomas were both on good form.
Simon Barrow, Edinburgh Music Review
Michael Mofidian was an authoritative presence in the bass part…
Simon Thompson, Seen and Heard
The tenor Russell Thomas and bass Michael Mofidian were inspirational.
Barnaby Miln, Edinburgh Guide
Within the solo quartet, Masabane Cecilia Rangwanasha’s soprano was an exuberant foil to Dame Sarah Connolly’s burnished mezzo, tenor Russell Thomas and bass Michael Mofidian equally generous as a pairing. As a complete team they were resplendent.
Ken Walton, Vox Carnyx
This was a holistic triumph, the richly defined potency of the chorus, the crystalline complexity of the orchestra, the formidable collective frontline of soprano Masabane Cecilia Rangwanasha, mezzo-soprano Dame Sarah Connolly, tenor Russell Thomas and bass Michael Mofidian all capturing, as one, Tippett’s aspirational vision.
Ken Walton, The Scotsman
If redemption’s possible (Tippett was an atheist, and this is a part-way secular piece) can it be through music, or is the answer in ourselves? The soloists (Rangwashana and Mofidian especially captivating), in navigating that sad, lamenting libretto that turns from spiritual through desperate to a kind of cathartic landing, don’t quite supply the answers, but play-out the questions with the audience in full engagement.
David Whyte, Art Mag
The soloists had been very specifically cast, with the familiar figures of mezzo Dame Sarah Connolly and Glasgow-born bass Michael Mofidian – on superb form – the narrative voices…
Keith Bruce, The Herald
Rossini Cantata in onore del sommo pontifice pio ix, ROF, Pesaro, august 2023
… il solenne finale … mette in luce la qualità timbrica e la dizione scolpita di Michael Mofidian, nome da tenere a mente.
The solemn finale brings to the fore the quality of timbre and the crisp diction of Michael Mofidian, a name to keep in mind.
Roberta Pedrotti, L’Ape musicale
Ottima [la prova]… dello scozzese Michael Mofidian nel ruolo del Genio cristiano, unico dei quattro a non provenire dall’Accademia Rossiniana ma che si è fatto notare per il bel timbro di basso e per l’ottima dizione scolpita.
An excellent performance… from the Scottish soloist Michael Mofidian in the role of ‘Christian genius’, the sole soloist of the four not to have come through the Accademia Rossiniana but who stood out for the handsome timbre of his bass voice and for his excellent sculpted Italian diction.
Gloria Nicole Marchetti, Quinte parallele
Ottima la prestazione di Antonio Garés e Michael Mofidian, che ricoprivano onorevolmente i loro ruoli sia in brevi “a solo” sia in polifonia.
Excellent performances from Antonio Garés and Michael Mofidian, who both did an honourable job in their roles both in brief ariosi and in the ensembles.
Daniele Valersi, Artes News
Eccezionale, il basso Michael Mofidian (Il Genio Cristiano) che ascoltavamo per la prima volta. Voce ampia e ben emessa, fraseggiatore autorevole e stilisticamente pertinente, speriamo di poterlo sentire ancora in questo repertorio. Per lui un’altra rielaborazione di un brano di grande suggestione, la “Profezia” di Hiéros da “Le Siège de Corinthe” eseguita molto bene, e che concludeva in maniera solenne la Cantata.
The bass Michael Mofidian (Christian Genius), whom we were hearing for the first time, was exceptional. His voice ample and well-produced, his phrasing authoritative and stylistically on-point, we hope to be able to hear him again in this repertoire. His aria featured another reworking of a highly evocative piece, the ‘Prophecy’ of Hieros from The Siege of Corinth, executed very well to solemnly conclude the cantata.
Francesco Esposito, Il Trillo parlante
Beethoven 9 with BBCsso at bbc proms, July 2023
The bass Michael Mofidian launched Schiller's Ode with terrific bravado…
Rupert Christiansen, The Daily Telegraph
For once, all four members of the solo vocal quartet were excellent. Michael Mofidian carried real gravitas in that first vocal statement.
Colin Clarke, Seen and Heard
Masetto (Don Giovanni), Glyndebourne Festival, May 2023
The evening’s finest singing came from Michael Mofidian’s sturdy Masetto and – especially – Victoria Randem’s live-wire Zerlina.
Mark Pullinger, Bachtrack
Mofidian and Randem are similarly outstanding: he’s sweet, affectionate and touching despite the bluster; her Vedrai Carino is meltingly lovely.
Tim Ashley, The Guardian
Best of the team are Victoria Randem’s sparky Zerlina and Michael Mofidian’s Masetto, both alert and wise to their mistreatment.
George Hall, The Stage
… the standout singers are Victoria Randem’s feisty, prettily sung Zerlina… and Michael Mofidian’s Masetto.
Hugh Canning, Operalogue
There is some super singing to enjoy, though, not least from Victoria Randem as Zerlina and Michael Mofidian as Masetto… Mofidian’s Masetto was no walk-over, though, his dark-hued [bass-]baritone expressive of his stature.
Claire Seymour, Opera Today
Michael Mofidian exudes force and vigour as her enraged fiancé Masetto, but remains musically agile, not heavy handed.
Curtis Rogers, Classical Source
Michael Mofidian was an endearing Masetto…
Alistair Macaulay, Financial Times
In a cast whose youth makes sense of the sex-driven fable, these eye-catching rising artists are joined by other fresh faces, including the very impressive Royal Opera-trained bass Michael Mofidian as bridegroom Masetto…
Claudia Pritchard, Culture Whisper
Michael Mofidian and Victoria Randem delight as Masetto and Zerlina, raunchy and exuberant.
Fiona Maddocks, The Observer
Jesus (St John Passion) with Britten Sinfonia, Barbican Hall, April 2023
The mahogany darkness of Michael Mofidian’s bass ensured that this Christ had an implacable presence, his words imbued with conviction and truth.
Claire Seymour, Opera Today
… bass Michael Mofidian as Christ had the gravelly voice and stoical presence that marked him out as the immoveable, imperturbable centre of the drama… Mofidian’s enunciation of Christ’s death had a similar luminous stillness.
Ivan Hewett, The Daily Telegraph
… the highest accolades go to Gwilym Bowen as the Evangelist and Michael Mofidian as Jesus. Their centrality to the evening placed a significant burden of responsibility on each, and both rose to the challenge superbly... Mofidian displayed a deep, broad and quite dark bass that felt highly compelling, and contributed handsomely to making this such an engaging performance all round.
Sam Smith, Music OMH
Theseus (A Midsummer Night’s Dream), Opéra de Rouen, January 2023
… en Theseus, le jeune Michael Mofidian fait entendre une voix au grain serré et une ligne de chant dont la noblesse rappelle celle de Samuel Ramey ! Un artiste qu’on espère réentendre bientôt dans un rôle important…
In the role of Theseus, the young Michael Mofidian reveals a close-grained voice with a legato line whose noble quality recalls that of Samuel Ramey! An artist whom we hope to hear again soon in a bigger role…
Stéphane Lelièvre, Première Loge
Michael Mofidian, baryton-basse, incarne avec vigueur et une belle énergie le Prince Theseus…
The bass-baritone Michael Mofidian plays the Prince [sic] Theseus with vigour and plenty of energy…
José Pons, Olyrix
Messiah with Dunedin Consort, Queen’s Hall, December 2022
Bass-baritone Michael Mofidian’s splendidly muscular deep voice brought character, truly “shaking the nations” with a darkness as black as ink. A powerfully lyrical “The trumpet shall sound” was a highlight.
David Smythe, Bachtrack
I am ashamed to admit that, as far as I know, this was my first encounter with Glaswegian Michael Mofidian, a bass of extraordinary power with an impressive operatic c.v. The recitative beginning with “Thus saith the Lord of Hosts” includes a sequence “and I will shake …” and yep, the ground shook. Phenomenal. Equally apocalyptic was the air ‘Why Do the Nations So Furiously Rage Together?’. No less so was ‘The Trumpet Shall Sound’. It is worthy of note that, when singing solo, he closed the score and delivered a performance that was direct and seemed personal. What a performer!
Donal Hurley, Edinburgh Music Review
Colline (La Bohème), Royal Opera House, October 2022
…the young and powerful bass-baritone Michael Mofidian… The aria ‘Vecchia zimarra, senti’, sung as Colline prepares to pawn his overcoat, was magnificently resonant.
Chris Sallon, Seen and Heard International
Michael Mofidian’s grandly sung Colline […] completed a coherent quartet.
George Hall, Opera
Promising bass Michael Mofidian sings Colline’s short aria bidding farewell to his winter coat with a simple dignity.
Richard Fairman, Financial Times
Michael Mofidian delivered Colline’s ‘Coat’ aria with sombre dignity.
Nick Boston, Bachtrack
Michael Mofidian’s cavernous tones made ‘Vecchia zimarra, senti’ another highlight.
Jim Pritchard, Seen and Heard International
Canta altrettanto bene Il Colline di Michael Mofidian il quale emerge in un’interpretazione applauditissima dell’aria “Vecchia zimarra, senti”: il basso-baritono scozzese si distingue per qualità del timbro, volume generoso e voce ben in avanti.
Michael Mofidian’s Colline is equally well-sung, standing out in his highly-applauded rendition of the aria ‘Vecchia zimarra, senti’: the Scottish bass-baritone distinguishes himself by the quality of his timbre, ample volume and voice well-placed forward.
Pietro Dall’Aglio, Connessi all’Opera
Ottimi i comprimari, dalla Musetta […] all’intenso Colline di Michael Mofidian, che dona con l’interpretazione della sua aria un momento di grande intensità alla scena finale.
Excellent performances from the secondary characters, from the Musetta [of Danielle de Niese] … to the intense Colline of Michael Mofidian, whose interpretation of the Coat aria lends a moment of great intensity to the final scene.
Grazia Pulvirenti, Sipario
Idas/Phobétor (Atys, Lully), Grand Théâtre de Genève, March 2022
Dans la deuxième partie plus intime et touchante, Matthew Newlin (Atys argenté à l’incroyable aisance corporelle), Giuseppina Bridelli (Cybèle vibrante et charnelle), Ana Quintans (émouvante Sangaride au timbre fruité) Andreas Wolf (Célénus énergique) et Michael Mofidian à la couleur profonde (solide Idas/Phobétor/songe funeste) composent un beau quatuor de solistes que le reste de la distribution honore.
Sylvie Bonier, Le Temps
Michael Mofidian (Idas / Phobétor) donne un charme particulier à la scène du sommeil d’Atys par son timbre profond et noir, son legato et sa longueur de souffle...
Michael Mofidian (Idas / Phobétor) gives a special charm to the Sleep Scene with his deep, black timbre, his legato and his length of breath…
CJM, Olyrix
Parmi les autres rôles, on ne peut passer sous silence le baryton-basse Michael Mofidian (Idas/Phobétor/Un songe funeste) dont la voix profonde chargée d’harmoniques, timbrée à souhait, parfaitement conduite, la diction impeccable rappelle, dans un tout autre registre, l’admirable Samuel Ramey dont les murs de l’institution lyrique genevoise vibrent encore d’un souvenir vivace.
Among the other roles, we cannot overlook the bass-baritone Michael Mofidian (Idas/Phobétor/Un songe funeste) whose deep resonant voice, pleasing of timbre, masterfully handled and with impeccable diction, brings to mind, in a completely different register, the great Samuel Ramey, the memory of whose voice still reverberates vividly within the walls of Geneva’s opera house.
Jacques Schmitt, Res Musica
Nourabad (Les Pêcheurs de perles), Grand ThéÂtre de Genève, December 2021
De son côté, Michael Mofidian se révèle le plus intéressant des personnages, bien que le moins exposé de la distribution. Son Nourabad rayonne naturellement, avec solidité, sur une remarquable voix sombre. Comme ses collègues masculins de plateau, le Britannique offre une articulation et une diction claires, qui rendent le texte intelligible sans avoir à consulter les surtitres, ce qui n’est pas rien.
For his part, Michael Mofidian emerges as the most engaging of the characters despite having the least time on stage. His Nourabad shines naturally, with solidity, on a remarkable dark voice. Like his male colleagues on stage, the Briton sings with clear diction such as to render the French text intelligible without the need to consult the surtitles: no mean feat.
Sylvie Bonier, Le Temps
…l’impeccable Michael Mofidian aux graves de bronzes dans “Sombres divinités”.
… the faultless Michael Mofidian, with bronze-like low notes in ‘Sombres divinités’.
Charles Sigel, Forum Opera
On signalera aussi la belle prestation de Michael Mofidian en Nourabad aux graves percutants.
We must also note the beautiful performance of Michael Mofidian as Nourabad with his powerful low register.
Claudio Poloni, Concerto Net
A ses côtés, la basse britannique Michael Mofidian (Nourabad) fait aussi preuve d’une belle tenue vocale ainsi que d’une impeccable prononciation de la langue française.
At his side, the British bass Michael Mofidian (Nourabad) also shows a beautiful vocal technique as well as an impeccable pronunciation of the French language.
Jacques Schmitt, Res Musica
Le quatuor vocal met en valeur l’élégant baryton-basse Michael Mofidian…
The vocal quartet showcases the elegant bass-baritone Michael Mofidian…
Vincent Borel, Concert Classic
Charming, spry Michael Mofidian sounded fantastic as Nourabad, and brought lightness and good humour to every scene he was in.
Elodie Olson-Coons, Bachtrack
Michael Mofidian's Nourabad possesses the authority and peremptory declamation of the high priest.
Paul-André Demierre, Crescendo Magazine
Lord Rochefort (Anna Bolena), Grand ThéÂtre de Genève, october 2021
On espère réentendre bientôt le baryton-basse Michael Mofidian, Rochefort au timbre boisé, lumineux et compact[.]
We hope to hear the bass-baritone Michael Mofidian again soon, a Rochefort with an oaken-grained, brilliant and compact timbre.
Sylvie Bonier, Le Temps
…bass-baritone Michael Mofidian (Lord Rochefort), the Grand Théâtre de Genève integrates a very beautiful voice into its Jeune Ensemble.
Jacques Schmitt, Res Musica
En Lord Rochefort, l’Ecossais Michael Mofidian parvient aussi à exister pleinement, avec son robuste instrument de baryton-basse et cette capacité à pleinement entrer dans le rôle d’un frère meurtri, prêt, en restant fier et debout, à affronter la mort.
In the role of Rochefort, the Scot Michael Mofidian exists fully on stage with his robust bass-baritone and his ability to fully enter into the role of the heroine’s brother, bruised but ready to face his death with his head held high.
Pierre Géraudie, Olyrix
Don Alfonso (Cosí fan tutte), Lammermuir Festival/Scottish Opera, September 2021
Michael Mofidian, a puckish Don Alfonso (the game show host), and Catriona Hewitson, an agile all-purpose Despina, are class manipulators.
Ken Walton, The Scotsman
[Mofidian’s] Alfonso dominated the stage with ease, and his remarkable black-toned bass, not often heard in this role, gave the character a distinctly Mephistophelean tint.
Opera Scotland
The manipulation of Don Alfonso, given an impressive performance by Michael Mofidian…
Christopher Lambton, The Arts Desk
Stravinsky Pulcinella with BBCSO, Edinburgh International Festival, August 2021
Stasevska conducted it with authority and energy, and the singers were impressive too, especially Michael Mofidian, a young Scottish-Iranian bass whose big, suave voice should take him far.
Richard Morrison, The Times
First Night of the Proms with BBCSO, Royal Albert Hall, July 2021
Michael Mofidian’s pitch-dark bass, […] delivered Shelley’s words eloquently.
Erica Jeal, The Guardian
Masetto (Don Giovanni), Royal Opera House, July 2021
Michael Mofidian’s excellent bass is heard to good effect as Masetto.
Richard Fairman, Financial Times
… complemented by the fine bass Michael Mofidian as Masetto.
Colin Davison, British Theatre Guide
…fine singing from both Zuzana Marková and Michael Mofidian.
Claire Seymour, Opera Today
The outstanding performers were Adela Zaharia’s Donna Anna, a soprano, new to me, of striking looks and formidable technique, with the poise and carriage of a born prima donna, and Michael Mofidian’s young, virile Masetto, a bit of a ringer for the young Jonas Kaufmann. I would love to see this former Jette Parker artist’s Leporello at the soonest opportunity.
Hugh Canning, The Sunday Times
Mahler Kindertotenlieder, Britten sinfonia cond. Sir mark elder (december 2020)
Mofidian’s is a voice in a thousand, unusually well suited for the depths into which Mahler sends his soloist, but also managing all those crucial phrases which go over the top so impressively… Mofidian scored a real bonus here in learning and delivering with panache.
David Nice, The Arts Desk
Recital for BBC radio 3 with Julia Lynch (piano), City Halls Glasgow (July 2020)
Mofidian, of Iranian descent but born and bred in Glasgow, has an immense, dark-hued voice that’s even-toned from top to (very deep) bottom. A lifetime of playing dying tsars in epic Russian operas clearly awaits him, should he really want it.
Richard Morrison, The Times
Chelsias (Susanna, Handel), Royal Opera/Linbury Theatre (March 2020)
Two singers stood out as the finished Handelian article., both with professional careers in this repertory already assured, indeed already taking place. Michael Mofidian (Chelsias) was sadly underused: Handel gave him just two arias to bookend the evening; but the quality of the bass was never in doubt, and the ease with which such a big voice negotiated the florid passages was altogether remarkable. More Handel please, Mr Mofidian!
Roger Parker, Opera
Michael Mofidian, as Susanna’s father Chelsias, and Blaise Malaba, as one of the seedy Elders, both impress with their weighty bass roles.
Stephen Pritchard, The Observer
Michael Mofidian and Patrick Terry are outstanding as Chelsias and Joachim …
Barry Millington, The Evening Standard
…Michael Mofidian as Chelsias, and Yaritza Véliz as Daniel gave notice of impressive bass and mezzo voices respectively.
Richard Fairman, The Financial Times
…the Scottish-Iranian bass, Michael Mofidian excels as her [Susanna’s] father, Chelsias.
Martin Kettle, The Guardian
…especially notable … Michael Mofidian’s firm Chelsias…
George Hall, The Stage
… the evening’s most unbuttoned applause was reserved for two native anglophone artists: countertenor Patrick Terry, who sang Susanna’s loyal though much-absent husband Joacim to the exceptional standard we’ve come to expect from him, and the bass-baritone Michael Mofidian, superlatively good in the role of Chelsias, her father.
Mark Valencia, Bachtrack