Covered Covered & Performed Scenes Premiere of New Work Concert
Dei miei bollenti spiriti - Traviata
" Joseph Buckmaster’s solid Apollo completed this excellent ensemble cast" - Matthew Rye 2018 - https://bachtrack.com/review-semele-cummings-fuchs-dambrauskaite-royal-academy-opera-london-november-2018 (2018)
"Buckmaster’s strong vocal was particularly awe inspiring, and supported by his incredible talent for acting. His facial expressions, particularly those of wonderment and sorrow, and body language throughout the performance were brilliant." - Donna M Day - http://donnamday.com/review-la-boheme-by-flatpack-music/ (2018)
Joseph Buckmaster is a Tenor currently studying for his MA at the Royal Academy of Music under the tutelage of Richard Berkeley-Steele.
In 2009 Joseph began his training at the RNCM where he developed a deep passion for the Operatic repertoire. He performed in the chorus for several of their operas, including Offenbach’s La Belle Helene, Mozart’s La Clamenza di Tito, Bizet’s Carmen and Barber’s Vanessa. In 2012 he covered the role of Giove in the RNCM's production of Monteverdi’s Il Ritorno d'Ulise in Patria.
Since graduating from the RNCM he has performed professionally the roles of Tamino in Mozart’s Die Zauberflöte and has covered the roles of Ferrando in Mozart’s Cosi fan Tutte and Don Jose in Bizet’s Carmen for Heritage Opera. For Flat Pack Music he has performed the roles of Tamino in Mozart’s The Magic Flute, Ferrando in Mozart’s Cosi fan Tutte, Rodolfo in Puccini’s La Boheme, and Don Curzio and Basilio in Mozart’s The Marriage of Figaro. Whilst at the Royal Academy of Music he has performed the roles of Apollo in Handel’s Semele and Alméric in Tchaikovsky’s Iolanta for Royal Academy Opera.
In 2017 Joseph Co-Founded Flat Pack Music (FPM) an Opera company based in the North West of England. FPM focusses on bringing opera to a wider audience. They perform in English and charge low ticket prices.
Joseph has performed as soloist throughout the country including Carl Orff’s Carmina Burana, Handel’s Messiah, Stainer’s Crucifixion, Carissimi’s Jephte, Britten’s Rejoice in the Lamb and Rossini’s Petite Messe Sollonele.
He would like to thank The Mario Lanza Foundation, The Split Infinitive Trust and the Henry Wood Accommodation Trust for their support.
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