Operatic Repertoire

I've performed all but about six of the roles listed. Those I've not yet performed publicly, I have understudied with national opera companies. My repertoire is mainly in the original language, but the small number of roles which I currently know only in English are marked with an asterisk.

I'd most eagerly offer myself for the following:

Mozart
Dr Bartolo
(Figaro)
Leporello
(Don Giovanni)
Don Alfonso
(Cosi)
Sarastro
(Flute)
I've given more performances as Sarastro than in any other role.
I would like to be considered as The Count(Marriage of Figaro). He is usually cast as an exceedingly fine figure of a man (more attractive than Figaro) in many productions. The drama might be better served if he were more clearly seen to be philanderer who is rather less attractive, despite his aristocratic status; one who uses his feudal powers rather than his natural charms in pursuing the lovely Susannah. To date I have not yet performed the role, and would welcome an opportunity to understudy it.
Rossini
Dr Bartolo
(Barbiere)
Don Magnifico
(Cenerentola)
Puccini
Bonzo
(Madama Butterfly)
Sagrestano
(Tosca)
At Holland Park they used to give awards to the best leading lady and gentleman in their opera festival. The panel of judges liked my Sacristan/Gaoler so much they decided they wanted to create an extra third award just for me. I was so delighted!
Verdi
Germont Pere*
(Traviata)
Monterone
(Rigoletto)
Falstaff*
(Falstaff)
Having successfully sung Falstaff and Germont Pere, obviously I might be well cast as Rigoletto himself, but sadly so far I have had no opportunity to try the whole role to ascertain the situation.. I'd welcome an opportunity to understudy it.
Donizetti
Don Pasquale
(Don Pasquale)
Raimondo
(Lucia)
Dulcamara
(L'Elisir)
Smetana 
Kecal
(Bartered Bride)
Richard Strauss
Baron Ochs
(Rosenkavalier)
My favourite opera! A Frankfurt agent once interrupted my singing at an audition to ask if Baron Ochs was in my repertoire. When I answered 'No', that it wasn't, he said that was a great pity for I would be 'ganz genau'; for the part. Male-pattern baldness has its advantages after all. It then became the only part I have ever learned without first having an engagement to sing or cover the role. Within a few weeks of beginning the long learning process (I learned it with none of the usual cuts!) I had an offer from ENO to understudy it. I've now fulfilled 4 separate contracts to understudy Ochs, both in German and English. Fortunately for me, one of the artists I covered was a native Viennese who gave me expert instruction on the dialect/accent that the role requires. I'm very keen to perform my first Ochs.
Wagner
Alberich
(Rheingold)
Also my favourite opera! Thanks to Anthony Negus and the Longborough Festival in the English Cotswolds, I was given the opportunity of the role, and it was a great success (smashing reviews!) My view is that this role suits me physically and vocally better than any other.
 

The full repertoire list follows:

Nicolai Falstaff Merry Wives of Windsor
Alban Berg Doctor u/s Wozzeck
Janacek Dikoj Katya Kabanova
Rossini Bartolo Barber of Seville
Verdi Grenvil La Traviata
Bellini Oroveso Norma
Ponchielli Alvise Badoero La Gioconda
Puccini Benoit / Alcindoro La Boheme
Verdi Pistol Falstaff
J Strauss Frank Die Fledermaus
Lehar Baron Zeta The Merry Widow
Cimarosa Geronimo Il Matrimonio Segreto
Puccini Frank Edgar
Handel Melisso Alcina
Mozart Sprecher The Magic Flute
R Strauss Commercial Counsellor u/s Intermezzo
Britten Supt. Budd u/s Albert Herring
Britten Swallow Peter Grimes
Britten Dansker u/s Billy Budd
Offenbach Spalanzani Crespel, Luther, Schlemil The Tales of Hoffmann
Puccini Talpa Il Tabarro
von Flotow Tristan Martha
R Strauss Truffaldino Ariadne auf Naxos
Monteverdi Le Roi d'Ys, Caronte Orfeo
Wagner Daland u/s The Flying Dutchman
Wagner Klingsor u/s Parsifal
Britten Starveling, Quince u/s Midsummer Night's Dream

 This list excludes various roles in more contemporary pieces not part of the standard repertoire.