Thomas was a finalist in the prestigious Guildhall “Gold Medal” competition in 2015 and has subsequently created a buzz of interest in operatic circles as to the direction his voice will take him. Possessing a strong Italianate tenor voice with impeccable musicianship and technique, Thomas doubtless has a bright future ahead of him. He is currently in his second year on the prestigious Jette Parker Young Artist Programme at the Royal Opera House, Covent Garden.
Thomas studied on the Opera Course at the Guildhall School of Music & Drama, under the tutelage of Adrian Thompson. In 2013 he was awarded the New Zealand Arts Foundation Patronage Award. Recent concert performances include Soloist alongside Dame Kiri Te Kanawa at the 2014 Yakushiji Otobutai, Japan and Dritter Lakai in excerpts from Der Rosenkavalier with the London Symphony Orchestra conducted by Sir Mark Elder.
Thomas was a finalist in the Guildhall School of Music & Drama “Gold Medal” in 2015 and is the recipient of the Guildhall School of Music & Drama award, the Sheila Prior Prize, the Phoebe Patrick Award and the Vianden International Summer School Award, all from the 2012 IFAC Australian Singing Competition. Roles include Pastore (Cover) in Monteverdi’s Orfeo (Royal Opera); Tenor Solo: Anamchara – Songs of Friendship Pippa Murphy & Alexander McCall Smith (Scottish Opera); Don Ottavio (cover) Don Giovanni (New Zealand Opera); Arlecchino (Cover) in Jonathan Dove’s The Adventures of Pinocchio (Guildhall School of Music & Drama), Corrado Il Corsaro (New Zealand School of Music); Ferrando Così Fan Tutte (Opera in a Days Bay Garden); Oronte Alcina (Opera in a Days Bay Garden); Borsa (cover) Rigoletto (NZO); Don José Carmen (New Zealand Choral Federation) and Lysander: A Midsummer Night’s Dream (New Zealand School of Music).
Concert engagements include Tippett’s A Child of Our Time, Mozart’s Requiem, Dubois’ Seven Last Words of Christ, Vaughan Williams’ Mass in G Minor, Handel’s Messiah and guest appearances at Nelson’s Opera in the Park.
Thomas gratefully acknowledges the financial support of the Kiri Te Kanawa Foundation. Thomas was a 2013/14 Freemasons Dame Malvina Major Emerging Artist with NZ Opera.
Recent engagements include Florindo in Wolf Ferrari’s Le Donne Curioseand Male Chorus The Rape of Lucretia (Guildhall School of Music), Concerts with Kiri te Kanawa in Japan, Lampwick The Adventures of Pinocchio in Cambridge,Verdi Requiem at Walthamstow Town Hall (Forest Philharmonic), Pinkerton Madama Butterfly with Grimeborn Festival, Opera Galas in Budapest, Mozart Requiem in Switzerland and Rossini Stabat Mater in Milton Keynes.
Thomas is currently on the Jette Parker Young Artists Programme at the Royal Opera House, Covent Garden where his roles this season include Pilade Oreste, Faninal’s Major Domo Der Rosenkavalier, Poisson Adriana Lecouvreur, Enrique The Exterminating Angel and Roderigo Otello. Concert engagements include L’Enfance du Christ in Colchester and Verdi Requiem in Buxton.
Engagements in the 2017/2018 season at Covent Garden include 1st Armed Man Die Zauberflöte, Don Jose La Tragédie de Carmen (Wilton’s Music Hall), Teacher Lady Macbeth of Mtsensk and 2nd Brabant Noble Lohengrin.
Bizet- LA TRAGEDIE DE CARMEN – Wilton’s Music Hall
“Thomas Atkins’ tenor has all the ardour for José’s Flower Song” Rupert Christiansen, The Times (4 November 2017)
“Thomas Atkins has impressive vocal power as Don José”. Hannah Nepil, The Financial Times (6 November 2017)
“When Thomas Atkins’s Don Jose answers her, it’s with singing of commensurate beauty: in this small space with its warm acoustic, our proximity to these brilliant young voices is thrilling” Michael Church, The Independent (6 November 2017)
Handel – ORESTE, Wilton’s Music Hall (Jette Parker Young Artist, ROH)
“Among the men there’s an easy stand-out: the tenor Thomas Atkins from New Zealand, brimming with an Italianate warmth likely to find more suitable vehicles outside baroque opera.” Geoff Brown. The Times (10 November 2016)
“Thomas Atkins show signs of a fine lyric tenor voice” Rupert Christiansen, The Telegraph (9 November 2016)
“Thomas Atkins’ tenor had plenty of Italianate “ping”, generous phrasing and disarming charm, which made his Pinkerton almost sympathetic, notably during a genuinely heart-rending Addio fiorito asil” Bachtrack