Burrows was born near Pontypridd in 1933, on the same street as legendary baritone Geraint Evans and at least one international rugby player, and in the same town that gave birth to the Welsh national anthem. Evidently there was something very special in the water. His early years read almost like a parody of Welsh tropes - singing at his local Methodist chapel (in a country then still bursting with such chapels), competing in eisteddfodau, and excelling in rugby to the extent that he was on the point of turning professional.
Fortunately (for the music world, at least) Burrows decided at the last minute not to sign Leeds Rugby League Club’s contract, and instead started out down the road as a professional solo singer. Combining local work on the oratorio and recital circuit with appearances with Welsh National Opera led - perhaps inevitably, given the calibre of his voice - to broader recognition and a breakthrough. The nature of that breakthrough, though, was undeniably surprising - Stravinsky, attending one of Burrows’s performances in the mid-1960s, was so taken by his voice that he immediately snapped him up to sing Oedipus Rex.
At this point, not surprisingly, doors began to fly open for him - working at Covent Garden for a full quarter of a century and singing at all the world’s great opera houses. Through it all, Burrows was scrupulously careful about knowing the limitations of his instrument - cajoled in a Wagnerian direction by many (including reportedly Georg Solti), he always declined such heavy roles and stayed true to the repertoire that best suited him - Donizetti, Verdi, Puccini and above all Mozart. An anecdote recounted on BBC Cymru Fyw describes none other than Herbert von Karajan beginning to conduct Burrows in a dress rehearsal of a Mozart aria, and then simply sitting back to enjoy the performance.
In parallel to this reign as the ‘King of Mozart’ (also the 'Prince of Paminos' to audiences in San Francisco), Burrows never lost sight of his musical roots and of traditions closer to home - retaining an interest in English and Welsh song of the Victorian era, and contributing to the revival of Welsh-language song both within and beyond his home country. BBC Wales saw the opportunity to bring great music to a wider audience, and for eight years in the ‘70s and ‘80s British audiences were treated to Stuart Burrows Sings, a series of eclectic televised recitals where Burrows would juxtapose seemingly any music that took his fancy, introducing each item in an engaging, approachable and often disarmingly humorous manner. Quite aside from his commanding vocal presence, his ability to entertain an audience as a person should not be understated.
In the service of bringing the music to broader audiences perhaps not well-versed in the core classical repertoire, Burrows would often sing English translations of operatic arias - a 1985 Dublin performance of ‘On with the motley’ (‘To act? With my heart maddened with sorrow?’) from I Pagliacci is one of numerous clips available online. An old article on the BBC website describes this as ‘one of the first exponents of what was not yet referred to as ‘crossover’ repertoire’ - certainly Burrows was more than happy placing ‘highbrow’ music alongside more popular items.
Awards and recognition followed Burrows throughout his career - honorary doctorates and fellowships from Welsh universities, a Eurotunnel locomotive bearing his name (yes, really), an OBE in 2007 and more. Following his retirement from the musical stage in 1989 - going out with a bang with the demanding title role in La clemenza di Tito - he established an award for vocal singing in Carmarthen, and headed up a number of charities around south Wales. Indeed he never really left the environs of the Valleys, living in Cardiff all his life despite the international nature of his career.
His death was announced on Sunday; he is survived by his children Mark and Meryl, and two grandchildren - Meryl's son and daughter Rhys and Nia.
Stuart Burrows - a selected discography
Stuart Burrows (tenor), London Philharmonic Orchestra, John Pritchard
Available Formats: FLAC/ALAC/WAV, MP3
Ingvar Wixell (Don Giovanni), Martina Arroyo (Donna Anna), Stuart Burrows (Don Ottavio), Kiri Te Kanawa (Donna Elvira), Wladimiro Ganzarolli (Leporello), Luigi Roni (Il Commendatore), Mirella Freni (Zerlina), Richard van Allan (Masetto)
Orchestra and Chorus of the Royal Opera House, Colin Davis
Available Format: Presto CD
Stuart Burrows (Ferrando), Thomas Allen (Guglielmo), Richard van Allan (Don Alfonso), Kiri Te Kanawa (Fiordiligi), Agnes Baltsa (Dorabella), Daniela Mazzucato (Despina)
Orchestra of the Royal Opera House, Royal Opera Chorus, Colin Davis
Available Formats: FLAC/ALAC/WAV, MP3
Bernd Weikl (Eugene Onegin), Teresa Kubiak (Tatyana), Stuart Burrows (Lensky), Julia Hamari (Olga), Nicolai Ghiaurov (Gremin), Enid Hartle (Filipyevna), Anna Reynolds (Larina)
Orchestra and Chorus of the Royal Opera House, Covent Garden, Georg Solti
Available Formats: FLAC/ALAC/WAV, MP3
Beverly Sills (Anna Bolena), Shirley Verrett (Giovanna Seymour), Stuart Burrows (Riccardo Percy), Paul Plishka (Lord Rochefort), Patricia Kern (Smeton), Robert Tear (Hervey)
London Symphony Orchestra, John Alldis Choir, Julius Rudel
Available Formats: FLAC/ALAC/WAV, MP3
Joan Carlyle (Jenifer), Elizabeth Harwood (Bella), Helen Watts (Sosostris), Elizabeth Bainbridge (She-Ancient), Stuart Burrows (Jack), Alberto Remedios (Mark), Raimund Herincx (King Fisher), Stafford Dean (He-Ancient), David Whelan (Half-Tipsy Man), Andrew Daniels (Dancing Man)
Orchestra & Chorus of the Royal Opera House Covent Garden, Colin Davis
Available Format: 2 CDs
Stuart Burrows (tenor) & John Samuel (piano)
Available Formats: FLAC/ALAC/WAV, MP3
Stuart Burrows (tenor), John Constable (piano), Eufryn John (piano) & Martyn Neary (organ)
The Ambrosian Singers, National Philharmonic Orchestra, London Philharmonic Orchestra & London Symphony Orchestra, Wyn Morris, Robin Stapleton & Sir John Pritchard
Available Formats: FLAC/ALAC/WAV, MP3