Alistair Ollerenshaw recently graduated from the Royal Academy Opera Course under the tutelage of Mark Wildman and Audrey Hyland. A graduate of the University of Leeds, Hochschule für Musik, Weimar, he continued his studies at the Royal Northern College of Music and at the Royal Academy of Music where he was awarded a Distinction with a DipRAM. He currently studies with Susan Roberts.
His operatic roles include Nick Shadow Stravinsky The Rake's Progress, Junius Britten’s Rape of Lucretia conducted by Steuart Bedford, Pandolfe Massenet’s Cendrillon, Betto Gianni Schicchi, Figaro Il Barbiere di Siviglia, Sid Albert Herring and Il Conte Le Nozze di Figaro all with Royal Academy Opera, Masetto (cover) Garsington Opera, Marullo (cover) Rigoletto, Steuermann (cover) Tristan und Isolde Longborough Opera, Schaunard La bohème Merry Opera, Leporello Don Giovanni Opera in Oborne, Rambaldo (cover) Go Opera/ Opera di Peroni Figaro Mozart’s The Marriage of Figaro for Winterbourne Opera.
Alistair performs extensively on the concert platform across the UK. His recent performances include Handel’s Messiah with the Manchester Camerata, the title role in Mendelssohn’s Elijah for the Amersham Music Festival, Brahms’ Ein Deutsches Requiem with the Brandenburg Sinfonia at St Martin in the Fields and a New Years Eve Opera Gala at St Martin's in the Fields. His other repertoire includes Bach’s St John Passion, Dvorak Stabat Mater, Haydn Nelson Mass , Monteverdi Vespers, Fauré Requiem, Puccini’s Messa di Gloria Rossini’s Petite Messe Sollenelle.
He has also taken part in public and private masterclasses with Sir Thomas Allen, Dennis O’Neill CBE, Brindley Sherratt and Malcolm Martineau. Alistair was awarded 2nd prize in the Ludmilla Andrew Russian Song Prize and was a finalist in the prestigious Richard Lewis/ Jean Shanks Award. Alistair would like to thank the generous support of The Norman McCann Scholarship, The Leverhulme Trust and Philip Tattey Scholarship and The Josephine Baker Trust.
"Alistair Ollerenshaw is tremendously poised with vocal vigour – he seemed to be a pro performing as the moody and cranky Bartolo." - London Theatre 1, Il Barbiere di Siviglia