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Sadly Rossini’s Cenerentola has no mice for best friends, no magic pumpkin-carriage and no fairy godmother. But she is the same humble, selfless and loving heroin as in the fairytale, and Rossini makes up for magic in the plot with magic in his score. I love Cenerentola as a woman, and I love the way she expresses herself vocally. I also had some of my very best friends on the stage (and in the wing)

Preparations for Cambridge University Opera Society’s La Cenerentola are well under way. Have a look at our trailer and get your tickets! 20th-22nd of February 2020West Road Concert Hall

Green opera are excited to share the trailer for their upcoming premier of Fillu on the 25th of January for the Minerva festival! You can find out all about it here.

Over the last couple of months, I have been involved in crafting a project with Green Opera that tells the story of Eugenie Schumann, the youngest daughter of Clara and Robert, and her lover, the soprano Marie Fillunger. ‘Fillu’ came to live with the Schumann’s when the two women were in their early twenties. She studied with Clara and soon became part of the family. Eugenie accompanied her coaching sessions with Clara, and the pair

On Tuesday, Adam and I sang in a masterclass with Roderick Williams as part of the Final of the British Art Song Competition. Adam has been suggesting that we do some Irish repertoire for ages and we had a wonderful time singing Hamilton Harty’s Sea Wrack. We have also discovered the music of the twentieth-century American composer, Ned Rorem, and we chose his haunting setting of the civil war poem Look Down Fair Moon. The

Adam and I are very pleased to announce that we have been selected for the Oxford Lieder Mastercourse at the beginning of April. We are very much looking forward to working with the Joan Rogers, and the other world-famous tutors, and attending some wonderful recitals. We have been exploring repertoire by female composer over the recent months and on the course we will be working on songs by Nadia Boulanger, Clara Schumann, and Pauline Viardot,

In the run up to our production of ‘Fillu’, I have written an article on LGBTQ+ representation in opera for Varsity. You can also read more about how we crafted Fillu here. For eight weeks every summer, the BBC proms are the place to see the world’s best musicians for as little as six pounds. One of this year’s biggest names was the American mezzo soprano, Jamie Barton, soloist for the last night of the

Last year, I won the Cambridge University Symphony Orchestra Concert Competition, and this week I joined them to sing Wagner’s Wesendonck Lieder at West Road Concert Hall. Having performed these songs a number of times with piano already, it was joyful to sing with the deeper pallet of orchestral colour. These are so emotionally fraut; you feel them more deeply every time you perform them. I know this is only the start of my journey

Adam and I have had a wonderful year studying with Joseph Middleton on the Pembroke Lieder Scheme. It has been a transformational learning experience and has really brought us closer together as collaborative artists. On Wednesday, we performed alongside the other duos in the final concert, singing extracts from Mahler’s Rückert Lieder and Madrid!, a fun and evocative song by the French composer, Pauline Viardot. It is always a privilege to sing with Adam. He

Making Music Selected Artists Adam and I are thrilled to announce that after a rigorous selection process we have been chosen as Making Music Selected Artists. You can find the full Making Music brochure here (page 20): https://www.makingmusic.org.uk/resource/selected-artists-guide Tap on the image to see the full brochure