Glenn made his professional singing debut at the 25th Handel Festival in Karlsruhe, Germany, where he played Adelberto in Ottone, conducted by Charles Farncombe CBE. Since then he has played several lead Handel opera roles including Julius Caesar and Ruggiero in Alcina for the Handel Opera Society, Rinaldo at the Bloomsbury Theatre, London, Apollo in Parnasso in Festa and Tirinto in Imeneo with Baroque Encounter at St. John's, Smith Square in London.
Other opera roles have included Silvio in Handel’s Il Pastor Fido, Cupid in John Blow’s Venus and Adonis, Spirit in Purcell’s Dido and Aeneas and Venus in a concert performance of Pepusch’s Venus and Adonis. With Baroque Encounter he has also presented semi-staged performances of three of Handel’s early dramatic cantatas, including Il duello amoroso and O come chiare e belle.
Glenn was a soloist for the modern-world premiere performance of the rediscovered Mozart orchestration of Handel’s Judas Maccabaeus for John Pryce-Jones and the Halifax Choral Society, broadcast on BBC TV (UK) and on Trio Arts Channel (USA).
His other concerts have incorporated some of the main repertoire for counter tenor including Bach’s St Matthew Passion, and Handel’s Messiah with the Halifax Choral Society, and also with Choros and the Oxford Sinfonia, the first performance of a Bach passion (St John Passion) at Douai Abbey, Bach’s Mass in B Minor in Cambridge, Purcell’s Come ye sons of art away and Mozart’s Coronation Mass for the Queen’s Golden Jubilee at St. Alban’s Cathedral and both Vivaldi’s and Pergolesi’s Stabat Mater. His performances have contributed to festivals around the UK including the Chelsea, Rye, Dulwich, Shipton, Wandsworth, Edinburgh Fringe and Pennine Spring festivals, lute songs at Hampton Court Palace, and arias for counter tenor, oboe and orchestra in London and Brighton.
In recital Glenn has performed at St John’s, Smith Square, the National Portrait and Dulwich Picture galleries, and the Handel House Museum in London. He has performed in Sweden, Germany, Hungary, Cyprus, Ireland, France and his native Australia. His repertoire extends well beyond the baroque and he has given recitals of Finzi’s Let us garlands bring and Berlioz’s Les nuits d’été and also sometimes stretched to cabaret under the pseudonym "Maestro Millenota - the songbird of Soho".
Glenn had singing and voice production lessons from an early age but his more serious vocal training began in his native Australia with David Parker and Marie van Hove. For a period before moving to the UK he studied with Michael Dale from the NSW Conservatorium of Music. In London he was selected for the English National Opera Baylis Programme course – The Knack – focussing on the three core performance skills of music and singing, drama and acting, and movement and dance. Glenn then continued his private studies with The Knack’s artistic director Mary King with the assistance of the Tait Memorial Trust. He is very pleased to have had the opportunity of working with Alma Thomas in masterclasses, and vocal coaching with Robert Aldwinckle.
With colleagues he established his own early music ensemble, Baroque Encounter, in 2004 to explore two main avenues of performance: costumed period performances of baroque theatrical works; and more intimate chamber music mostly in the form of a trio of voice, recorder and harpsichord.