Nicholas John Fellowship (2013)

"Anthony Flaum was a vigorous and engaging Theseus, sympathetically leading but not dominating the youth chorus, and responding to the drama with fine heroic tone.” (2024)

"Anthony Flaum, the producer and founder of Prologue Opera, who also sang the lead tenor Mario Cavaradossi, is clearly a person who rises to a challenge." (Hastings Online Times) (2024)

“…no-one could fail to be won over by the performance of Anthony Flaum…” (On on Box blog) (2022)

“A solidly supportive cast includes… Anthony Flaum’s foppish Roderigo” (The Telegraph) (2022)

“...Edgar, the unrecognised son he has maligned (Anthony Flaum going virtuosically from trusting naivety to despair).” (The Times / Richard Morrison) (2021)

“Anthony Flaum, [...] acted the soldier with winning charm and a hugely expressive face…" (The Times) (2021)

“Anthony Flaum’s Pluto, a suave bounder who takes bold command of his music and the stage.” (The Stage / Yehuda Shapiro) (2019)

Courting her (Hélène) with engaging energy was the Paris of Anthony Flaum. He performed with the focus and precision of a true farceur, his original training in musical theatre clearly proving an asset, and sang with unstinting commitment.” (Opera / Yehuda Shapiro) (2019)

“…the tenor here is the clear-toned Anthony Flaum – another fine stage performer with immaculate diction.” (The Stage / George Hall) (2018)

“Anthony Flaum was an ideal Pinkerton, exuding charisma with film-star good looks......Flaum’s ebullient, flexible tenor felt just right for Pinkerton’s cocksure vocal presence,.....” (2018)

“There are fine performances in the smaller roles – a lethally characterised Tybalt from the excellent Anthony Flaum” (Classicalsource) (2018)

“…it was Anthony Flaum who stole the bouquets. The tenor's ringing accounts of Lensky's arias had pathos, depth and truth, and many's the singer who could learn from his accomplished body language.” (WhatsOnStage / Mark Valencia) (2017)

“Anthony Flaum as Aroldo sang a bold tenor of extensive lyrical dimensions, and will surely go far…” (Mark Ronan Theatre Reviews) (2017)

“Anthony Flaum as Aroldo sang a bold tenor of extensive lyrical dimensions, and will surely go far…” (Mark Ronan Theatre Reviews) (2017)

“Anthony Flaum as Nanki-Poo was sublime and superb as the full lyric tenor, A Wandering Minstrel I, captivating the audience.!” (The Local Berkshire) (2017)

"The rest of the cast does a decent enough job, but only Anthony Flaum as the tailor Motel really hits the spot.” (Rupert Christiansen for The Guardian) (2015)

“Anthony Flaum's bold and bracing tenor found good employment as Jose, whose inner conflicts he enumerated with skill.” (Opera / George Hall) (2015)

“Flaum has the role under his skin, breezing effortlessly through his serenades as the impoverished writer. But his touching acting betrays no sense of familiarity, and when his beloved Mimi lies dying in his arms as the opera draws to a close, his eyes moisten and he rocks back and forth with grief – it feels as though he’s losing her for the very first time.” (Fringeopera.com) (2015)

“…ringing, mellifluous tenor of Anthony Flaum in the elixir swigging role of Nemorino.” (Belfast Telegraph) (2014)

“The tenor Anthony Flaum nailed Lensky’s poetic ardour and impetuousness brilliantly, a ‘down-boy’ romantic in his first aria and drunkenly out of control at the party... he pressed all the right emotional buttons in his gripping pre-duel aria.” (ClassicalSource) (2012)

Anthony Flaum is a graduate of the Royal Academy of Music and the National Opera Studio, in London. Anthony began his professional life in banking before progressing to his vocal studies.

Among his recent highlights are Theseus in Monster in the Maze for Music in the Round at the Crucible Theatre, Cavaradossi in Becoming Tosca for Prologue Opera, Roderigo in Otello for Grange Park Opera; Edgar King Lear at The Grange Festival, directed by Keith Warner; and The Soldier The Soldier’s Tale at the Edinburgh International Festival.

He has also been recently announced as the Artistic Director of Barefoot Opera, a professional touring opera company based in the South East of England. As well as leading his own company, he will now be combining performing and producing.

His operatic roles include Borsa in Jonathan Miller’s production of Rigoletto (English National Opera); Macduff Macbeth and the Opera Highlights Tour (Scottish Opera); Nemorino L’elisir d’amore (Nevill Holt Opera and Northern Ireland Opera); Tybalt Roméo et Juliette, Lensky Eugene Onegin, Chekalinsky The Queen of Spades and Motel Kamzoyl Fiddler on the Roof (Grange Park Opera); Gonzalve L’heure espagnol for (Mid Wales Opera); Pinkerton Madame Butterfly and Rodolfo La bohème for Iford Arts; Scaramuccio Ariadne auf Naxos (West Green House Opera); Raoul La Vie Parisienne, Headstrong/Hermosa The Tales of Offenbach, Pluto Orpheus in the Underworld, Frederic Parson’s Pirates (Opera della Luna); and the title role in Verdi’s Aroldo (UC Opera). For OperaUpClose he was the first Rodolfo in their critically acclaimed production of La bohème, with subsequent roles including Lensky Eugene Onegin, Don José Carmen and Don Ottavio Don Giovanni.

He has performed with celebrated orchestras such as the Royal Philharmonic and BBC Concert Orchestra and works extensively in the private client market as well as in education and outreach.

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