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Photo: Paul Coghlin

Mark Saberton

Voice Type:





United Kingdom

Languages (fluent):



Faust (Gounod)
Swansea City Opera and Kentish Opera
Rigoletto (Verdi)
Kentish Opera
A Midsummer Night's Dream (Britten)
Longborough Festival Opera

Covered Covered & Performed Scenes Premiere of New Work Concert

Track 01 Rigoletto






“Suffolk born Mark Saberton was simply brilliant as Mephistopheles, totally believable treading the fine line between seductive and wicked.” Suzanne Hawkes, One Suffolk, Mephistopheles, Swansea City Opera (2015)

“The operas biggest dramatic role is Mephistopheles and Mark Saberton did not disappoint as the panto villain of the piece. This fitted rather well with this almost Victorian Music Hall boo hiss approach to the opera.” Mike Smith, Wales Online, Mephistopheles, Swansea City Opera (2015)

“Of the singers, Mark Saberton as Bottom was easily the most dominant, amusingly bumptious in his scenes with the other mechanicals, almost poetic with Tytania. His words were clear, too,” Michael Kennedy, Opera, Bottom, Midsummer Nights Dream, Longborough Festival (2009)

“The rumbustious rustics did Britten proud though, with Mark Saberton's Bottom weaving his own magic and, as he should, stealing the show.” Rian Evans, The Guardian, Bottom, Midsummer Nights Dream, Longborough Festival (2009)

“Mark Saberton was a most convincing Rigoletto, not over-doing his handicap as an ungainly hunchback (which sometimes happens in this part). His attractive baritone voice was clear and strong when needed, but he also brought out very well his despair at the end of the last act, when he realised that he had been responsible for the murder of his own daughter. His acting was always consistent with the part and I found him to be well cast as Rigoletto, gradually gaining sympathy as his tragic fate was sealed.” Pippa Hare, Music and Vision, Rigoletto, Kentish Opera (2008)

“Mark Saberton was an inspired casting as Rigoletto… His first quizzical entrance consciously cloaked by palace frolickings, Saberton's sinister characterisation grew massively in strength by the ensuing scene, … and even grimmer as his revenge gnaws its way into focus. Impish prankster, emerging monster; jovial, agonised; lion or mouse - Saberton, when goaded can wriggle into all these roles. Gesturally and facially (eyes glowering like a Robert Newton leer), he is a formidable Shakesperian presence. With strong direction he is a natural Falstaff (as he proved in Salieri's version, for Bampton). Vocally his range is magnificent, and he has the bluster of a fine buffo too; a casting director's dream.” Roderic Dunnett, Opera Now, Rigoletto, Kentish Opera (2008)

MMus Advanced Opera
Royal Scottish Academy of Music and Drama
MMus Opera
Royal Scottish Academy of Music and Drama
MMus Concert Singing
Royal Scottish Academy of Music and Drama
Part-time vocal tuition
Guildhall School of Music

Mark has sung with many opera companies including Royal Opera, Opera North and Scottish Opera. He has performed and recorded the role of Ben Budge (Beggars Opera) with the City of London Sinfonia and Royal Opera. At English National Opera he did the roles of Zurga (Pearlfishers), Pizarro (Fidelio) and Lepidus/Mereia (Caligula). Other roles include Rigoletto (Rigoletto) and Escamillo (Carmen) for Kentish Opera; Mephistopheles (Faust) for Swansea City Opera; Bottom (Midsummer Night's Dream) for Longborough Festival Opera; Scarpia (Tosca) for Heritage Opera; Antonio (Marriage of Figaro) for Garsington Opera; Narumov (Queen of Spades) for Opera Holland Park and the Hotel Waiter/Boatman (Death in Venice) for the Aldeburgh and Bregenz Festivals conducted by Paul Daniel. He has performed several times with Bampton Classical Opera including 'Waiting for Figaro' under Edward Gardner. He has broadcast on BBC Radio 3 and sung in a many oratorios and recitals including Brahms’ Requiem (at Birmingham Symphony Hall) and Vaughan Williams Sea Symphony (in Rochester Cathedral). With Timothy West, David Owen Norris and Philip Langridge he performed in 'A New Creation' at Winchester Cathedral.

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