British baritone Hugo Herman-Wilson studied at the University of Cambridge and the Royal College of Music, supported by the Aldama scholarship, the Josephine Baker Trust and the Help Musicians UK Maidment Award. He learns with Ben Johnson.

Hugo was an Alvarez Young Artist with Garsington Opera in 2019, a Britten-Pears Young Artist for 2017, 2018 and 2019 as well as the Audience Prize winner of the 2017 Somerset Song Prize and finalist in the 2017 Lies Askonas and 2018 RCM English Song competitions.

Photo by Christopher Middleton

Photo by Christopher Middleton

Hugo has a growing reputation for contemporary music, recently performing Birtwistle’s Three Songs from the Holy Forest and Theo Chandler’s The Divining Lair at Snape Maltings performing with conductor Jessica Cottis. He has also collaborated on and premiered in a number of other projects including Last Thursday, an opera by Gareth Mattey and Lewis Coenen-Rowe as part of the Collisions Festival 2018;  threads, a chamber opera combining music by Stephane Crayton, dance, theatre and Monteverdi; Free // Falling, an electroacoustic piece for solo voice by Matthew Lomax; and We the People, a satirical piece for voice and piano by Stella Fiorenzoli with libretto by Donald Trump. Other contemporary repertoire includes Elliot Carter’s Poems of Louis Zukofsky for voice and clarinet and extracts from the roles of Pig in Knussen’s Higglety Pigglety Pop and The Protector in George Benjamin’s Written on Skin.

Recent solo highlights include Mr Jedermann Scoring a Century (British Youth Opera), Micha The Bartered Bride (Cover, Garsington Opera), a recital of Purcell and Lawes duets and songs (Aldeburgh Festival 2019), Second Officer/Blazes The Lighthouse (RCM International Opera School), bass soloist in The Messiah (Nevill Holt Opera), Peter Quince A Midsummer Night's Dream (RCMIOS), Leporello Don Giovanni (Cover, British Youth Opera), Polifemo Acis and Galatea (RCM/Lawrence Zazzo), Il Commendatore Don Giovanni (Cambridge University Opera Society), Demetrius A Midsummer Night’s Dream, Sir Joseph Porter HMS Pinafore, Sid Albert Herring, Guglielmo Cosi fan tutte and Count Almaviva Le Nozze di Figaro (RCMIOS Scenes), Bach B Minor Mass (Guildford Choral Society/Wilcocks), Handel’s Messiah (St John’s, Smith Square/Heason), Bach’s St Matthew Passion and Brahms’ Requiem (Choir of King’s College, Cambridge/Cleobury) and Vaughan Williams’ Serenade to Music (Buckingham Palace/Wilson).

“…Hugo Herman-Wilson and Holly-Marie Bingham gave large-scale performances of astonishing maturity and stamina … his high baritone sounded gratifyingly glossy…” Opera Magazine

“…with Holly Marie Bingham and particularly the personable Hugo Herman-Wilson outstanding as the indestructible vaudevillians.” - The Times

“[Hugo Herman-Wilson] sang a grotesque murder ballad with ghoulish glee” - Bachtrack

“All three singers relished their parts handling the technically testing score with impressive conviction and self-confidence.” - Planet Hugill

”Here, to dramatic naturalness [Hugo] added the ability to switch between idioms with ease, and to employ a soothing, soft lyricism to inject moments of touching expressive sentiment.” Opera Today