"Athletically precise in both his body language and singing, McCarthy relishes the wit in Jeremy Sams’ translation of the libretto"
The Stage on Don Giovanni - August 2018
A graduate of Cambridge University, where he was a choral scholar at Caius College, baritone Oskar McCarthy’s interests span opera, choral music and experimental music theatre. He currently studies with Scott Johnson at the Alexander Gibson Opera School, Royal Conservatoire of Scotland.
His operatic roles include Leporello Don Giovanni (Waterperry Opera Festival); Kromow The Merry Widow (Opera Bohemia); Fasolt Das Rheingold (Edinburgh Players Opera Group); Uberto La serva padrona, Guglielmo Così fan tutte, Taddeo L’italiana in Algeri and Pausanias Une éducation manqué (Pop-up Opera); Falke Die Fledermaus and Binnacle/Garibdis Ulla’s Odyssey (OperaUpClose); Leporello Don Giovanni, Angelotti Tosca, Bello La fanciulla del west and Bartley Riders to the Sea (Midsummer Opera); Don Alfonso Così fan tutte (Bedford Park Festival); Papageno Die Zauberflöte (Opera Anywhere); Aeneas Dido and Aeneas and Secrecy The Fairy Queen (Barefoot Opera); Un Viellard Hebreu Samson et Delila and Zurga Les pêcheurs de perles (Genesis Chorale); Dottorre/Marchese La traviata, Escamillo Carmen and Orest Elektra (Secret Opera); Trinity Moses Aufstieg und Fall der Stadt Mahagonny (King's Opera); and Arsamenes Serse and Edmund Mansfield Park (Hampstead Garden Opera). Upcoming roles include Junius The Rape of Lucretia.
Oratorio work includes Mozart and Duruflé's Requiems (Brandenburg Choral Festival); Handel's Messiah (National Portrait Gallery); Verdi's Requiem (Philharmonia Britannica); Bach's St Matthew Passion, Beethoven's Ninth Symphony (Angel Orchestra); and multiple collaborations with the Basement Orchestra. He performs Mendelssohn’s Elijah with the Sinfonie Orchester Schöneberg at the Berlin Philharmonie in October, and Brahms' Ein deutsches Requiem with the Royal Scottish National Orchestra Chorus in February 2020.
Song work includes Kindertotenlieder with London Euphonia Orchestra, and the UK premiere of Othmar Schoeck's Buried Alive for the London Month of the Dead. Oskar developed Buried Alive into a semi-staged theatre piece - "Tinged with cool Gothic morbidity, and with a deft, light and effective theatrical touch" **** (London City Nights) - which he toured around the UK. He gave the first performance of a trio of songs written for him and Rob Keeley by Robin Holloway at Brompton Cemetery in 2016, in a concert that also featured a staging of Mussorgsky's Songs and Dances of Death, presented in collaboration with movement director Rachel Drazek.
Oskar is a Company Director of Festival Voices, a collaborative vocal ensemble he co-founded in 2017, with whom he has performed at the London Handel Festival, the Southbank Centre, and Latitude and Wilderness festivals. He is part of the Philharmonia Chorus Professional Singer Scheme, and from 2013 to 2016 was a principal member of The Portrait Choir, with whom he recorded the first ever Choral Audio Guide for the National Portrait Gallery (available to download from iTunes and to stream via Spotify), and performed at The Globe's Sam Wanamaker Playhouse. He has undertaken session work with London Voices, performed live on BBC Radio 3's In-Tune with Pop-up Opera and in 2017 he joined the JSB Ensemble, resident ensemble of the Musikfest Stuttgart, under artistic director Hans-Christoph Rademann.
As an actor-musician, Oskar has worked with Secret Cinema's on their immersive productions of The Shawshank Redemption and Brazil, and alongside aerial theatre artists Ockham's Razor as part of the London International Mime Festival. Other projects include the role of Wilfred Owen in Where Then Shall We Start?, a semi-operatic multimedia theatre piece by Jennifer Leach, performed at the Queen's House, Greenwich, and two critically-acclaimed touring productions with Re:Sound Music Theatre: After Party (2014-15) and Duet (2016). He enjoys work with young audiences and recently led workshops for the charity Music for Kenya in schools, hospitals and orphanages in rural Kenya. In 2015 he worked on Dance Umbrella and The Egg Theatre's 16 Singers, a devised music theatre piece for 0-18 month year olds, incorporating dance, puppetry and song, which toured to venues in London, Manchester and Durham (as part of the TakeOff Festival). In 2016 he joined the cast of Spitalfields Music's Catch a Sea Star, part of their award-winning Musical Rumpus series of music theatre pieces for 0-2.5 year olds. Performance venues include community centres and libraries in East London and the Happy New Ears festival of music theatre for young audiences in Mannheim, Germany. More recently he has devised a new work, Peter Rabbit's Musical Adventure, for Waterperry Opera Festival and worked with the Big Wheel theatre in education company on their touring French theatre show, Voulez-Vous?!
From 2013 to 2015, Oskar trained with and devised cross-genre work as a core company member of ERRATICA. The company's first show Triptych, performed in spring 2014 at the Print Room Notting Hill and the Spitalfields Music Festival, received praise from The Observer, The Times and Time Out. Other projects included a staging of David Lang’s the little match girl passion, performed at Shapes in Hackney Wick, and La Celestina, a site-specific video opera for the Metropolitan Museum of Art in New York. Oskar's ongoing interest in broadening his skill set as a performer has led him to taking masterclasses in clowning at The Comedy School, attending Jonathan Kay's Nomadic Academy for Fools, and participating in workshops at the International School of Dramatic Corporeal Mime in Paris.