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Born in 1976, Nicholas Jenkins studied at Merton College, Oxford, Trinity College of Music and the GSMD. Initially a professional singer, he established his reputation training choirs in London and working as Music Director to the University of Greenwich; he was subsequently employed as the first full-time Chorus Master to Grange Park Opera (2006 season), and as Guest Chorus Master by Belfast Philharmonic Choir, Brighton Festival Chorus (with the RPO), Les Musiciens du Louvre, Musikfest Bremen and Trinity College of Music. In the world of opera he has conducted Jonathan Dove Tobias and the Angel (NSO), Così fan tutte (Oxford Playhouse, Opéra Théâtre de Besançon), Offenbach L’Ile de Tulipatan (Opéra National de Lyon), Dido and Aeneas (Greenwich), Nabucco (Blackheath Halls), and Weill The Seven Deadly Sins (St John's Smith Square, with Sally Burgess).
Since 2005 Nicholas has worked extensively as assistant conductor to Marc Minkowski, at Opéra National de Lyon, Opéra National de Paris, Théâtre du Châtelet, Musikfest Bremen and Aix-en-Provence Festival; in works including Carmen, Die Entführung aus dem Serail, Offenbach Die Rheinnixen, Dido and Aeneas and Rameau Platée; featuring artists including Jessye Norman, Anne Sofie von Otter and Felicity Palmer. He has also been assistant conductor to David Parry (Opera Rara / LPO - Offenbach), to Jean-Christophe Spinosi (Handel Alcina at Opéra National de Paris), and to the Manoel Theatre, Malta (The Turn of the Screw and Semele).
Forthcoming engagements include conducting Weill Der Jasager - Celui qui dit oui (Opéra National de Lyon), Yuko Katori’s new opera (ROH Linbury Studio), and Handel’s Messiah (Old Royal Naval College Chapel, Greenwich). He will be assistant conductor to Marc Minkowski for Rossini La Cenerentola (Théâtre de la Monnaie, Brussels), Wagner Die Feen (Théâtre du Châtelet), and Mozart Idomeneo (Aix-en-Provence Festival and Salzburg), and assistant conductor / chorus master to David Parry for the world première recording of Offenbach Vert-Vert (Opera Rara).
Since 2005 Nicholas has worked extensively as assistant conductor to Marc Minkowski, at Opéra National de Lyon, Opéra National de Paris, Théâtre du Châtelet, Musikfest Bremen and Aix-en-Provence Festival; in works including Carmen, Die Entführung aus dem Serail, Offenbach Die Rheinnixen, Dido and Aeneas and Rameau Platée; featuring artists including Jessye Norman, Anne Sofie von Otter and Felicity Palmer. He has also been assistant conductor to David Parry (Opera Rara / LPO - Offenbach), to Jean-Christophe Spinosi (Handel Alcina at Opéra National de Paris), and to the Manoel Theatre, Malta (The Turn of the Screw and Semele).
Forthcoming engagements include conducting Weill Der Jasager - Celui qui dit oui (Opéra National de Lyon), Yuko Katori’s new opera (ROH Linbury Studio), and Handel’s Messiah (Old Royal Naval College Chapel, Greenwich). He will be assistant conductor to Marc Minkowski for Rossini La Cenerentola (Théâtre de la Monnaie, Brussels), Wagner Die Feen (Théâtre du Châtelet), and Mozart Idomeneo (Aix-en-Provence Festival and Salzburg), and assistant conductor / chorus master to David Parry for the world première recording of Offenbach Vert-Vert (Opera Rara).
Nicholas Jenkins music director/ conductor
Michael Moxham director
of productions
of productions
Neil Jenkins was a Chorister at Westminster Abbey, and a Choral Scholar at King’s College Cambridge. Whilst there he was the first tenor in the renowned vocal group ‘The Kings Singers’, and sang in the first concerts given by the Monteverdi Choir and the London Sinfonietta. He subsequently studied in the Opera School at the RCM where he formed the Kensington Consort with, among others, Sir Thomas Allen and Brian Kay. He made his debut in October 1967 in a recital at the Purcell Room with Roger Vignoles, and sang and recorded with the Deller Consort for ten years, whilst establishing himself as an opera singer at Kent Opera. Appointed in the 1970s as an RCM singing professor by Sir David Willcocks, he became a regular soloist with the Bach Choir, especially in the Bach Passions.
He is equally at home in opera, oratorio and recitals, combining this with an important role as a musicologist. In 2003 he was appointed to a Cambridge Fellowship to enable him to write a book about Handel’s favourite English tenor, John Beard. Neil has translated and edited all of Bach’s major choral works for New Novello Choral Edition, and Haydn’s ‘The Seasons’ and ‘The Creation’ for King’s Music. He has recorded under Bernstein, Britten, Marriner, Mackerras, Chailly, Nagano, Andrew Davis, Haitink, Norrington, Parrott, Gardiner and Hickox. In performances of contemporary music he has been directed by Rattle, Henze, Oramo, Atherton, Penderecki, Lutoslawski, Jac van Steen, Pierre Boulez and André Previn.
Neil has sung with all of Britain’s leading opera companies, particularly at Glyndebourne, Scottish Opera and WNO. Recent performances have taken him to New York, Chicago, Berlin, Paris, Lyon, Amsterdam, Geneva, Santiago, Dublin, Belfast and Tel Aviv. His performances in Kent Opera’s King Priam and Glyndebourne’s Lulu and Higglety Pigglety Pop are available on video. For NSO he has sung the title roles in Peter Grimes and Count Ory. He joins WNO once again in 2008 for a production by Peter Stein of Falstaff, with Bryn Terfel.
In 2004 Neil was honoured by the Worshipful Company of Musicians with the presentation of the “Sir Charles Santley Memorial Award”. 2007 marked the first AIMS summer school, of which he is Artistic Director, and the 40th anniversary of his London debut. He celebrated this in November 2007 with the Sussex Chorus and the Neil Jenkins Chorale, composed of family members, pupils and friends. He was the soloist in Finzi’s Dies Natalis and Britten’s St Nicolas, and Nicholas Jenkins was the conductor.
He is equally at home in opera, oratorio and recitals, combining this with an important role as a musicologist. In 2003 he was appointed to a Cambridge Fellowship to enable him to write a book about Handel’s favourite English tenor, John Beard. Neil has translated and edited all of Bach’s major choral works for New Novello Choral Edition, and Haydn’s ‘The Seasons’ and ‘The Creation’ for King’s Music. He has recorded under Bernstein, Britten, Marriner, Mackerras, Chailly, Nagano, Andrew Davis, Haitink, Norrington, Parrott, Gardiner and Hickox. In performances of contemporary music he has been directed by Rattle, Henze, Oramo, Atherton, Penderecki, Lutoslawski, Jac van Steen, Pierre Boulez and André Previn.
Neil has sung with all of Britain’s leading opera companies, particularly at Glyndebourne, Scottish Opera and WNO. Recent performances have taken him to New York, Chicago, Berlin, Paris, Lyon, Amsterdam, Geneva, Santiago, Dublin, Belfast and Tel Aviv. His performances in Kent Opera’s King Priam and Glyndebourne’s Lulu and Higglety Pigglety Pop are available on video. For NSO he has sung the title roles in Peter Grimes and Count Ory. He joins WNO once again in 2008 for a production by Peter Stein of Falstaff, with Bryn Terfel.
In 2004 Neil was honoured by the Worshipful Company of Musicians with the presentation of the “Sir Charles Santley Memorial Award”. 2007 marked the first AIMS summer school, of which he is Artistic Director, and the 40th anniversary of his London debut. He celebrated this in November 2007 with the Sussex Chorus and the Neil Jenkins Chorale, composed of family members, pupils and friends. He was the soloist in Finzi’s Dies Natalis and Britten’s St Nicolas, and Nicholas Jenkins was the conductor.
Neil Jenkins Idomeneo
American baritone Robert Presley, a native of Alabama, moved to the UK from San Francisco, where for a number of years he was a member of the San Francisco Opera. Trained at the University of Southern Mississippi and at Kent State University in Ohio, he made his professional opera debut at the age of nineteen as Betto di Signa in Gianni Schicchi. He has appeared with opera companies throughout the USA in roles including Rigoletto, Germont, di Luna (Il trovatore), Miller (Luisa Miller), Iago, Figaro (The Barber of Seville), Magnifico (La Cenerentola), Edgardo (Lucia di Lammermoor), Alfonso (Lucrezia Borgia), Ko-ko, the title role in John Phillip Sousa’s El Capitan, and he created the role of the Grandfather in American composer Carla Lucero’s opera Wuarnos. He worked with San Francisco Opera’s education/outreach programme and initiated a similar programme with the Nevada Opera in Reno. Robert has performed concerts in England, Italy, Lebanon and the USA, and has been a guest artist at the Larnaca International Music Festival. Robert covered the role of Rigoletto for Castleward Opera in 2004, and later that year made an acclaimed UK opera debut as Ford with NSO. He has toured England and Wales with Garden Opera in 2005 as Magnifico, and sang with that company on its tour to Kenya in 2006. Last summer he made his debut at the QEH as soloist in Beethoven’s 9th, and recently sang Ashmodeus in NSO’s Tobias and the Angel. He returned to Castleward Opera in June for several operatic concerts, one recorded for broadcast by BBC Radio Ulster.
Robert Presley
Neptune
Neptune
Born into an Anglo/Italian family Michael Moxham was raised on a staple diet of Rossini, Puccini, Linguine and score reading. Fluent in Italian, he also has a good knowledge of Neapolitan dialect. He graduated in English and Drama from Surrey University. As a result of an invitation and a scholarship from the Italian Institute of Culture, he returned to his maternal roots and studied in Italy, spending six months at the Piccolo Teatro under Giorgio Strehler and with Jonathan Miller at the Maggio Musicale.
Since then he has directed both opera and theatre at venues including The Jeanetta Cochrane and Greenwich theatres, TCM, The Royal Academy, Birmingham Conservatoire, Guildford Civic Hall and the Floral Hall. Michael has directed Lucia di Lammermoor, Falstaff and Tobias and the Angel for NSO. He has directed Cavalli's La Calisto in Birmingham and has been assistant director for Arabella ROH, Don Giovanni Copenhagen/ Vienna, Whirlwind Streetwise Opera, Flammen Theatre an Der Wien, Macbeth and The Turn of the Screw Brussels, Tristan and Isolde ON, Der Rosenkavalier Spoleto, La Finta Giardiniera Maastricht, Carmen Turin. He is assisting Keith Warner on the current ROH Ring cycle and directed the highly acclaimed concert performance of Die Walküre at the Proms in the Albert Hall. Most recently he has directed La voix humaine and assisted Keith Warner on Der Silbersee in Wexford.
Since then he has directed both opera and theatre at venues including The Jeanetta Cochrane and Greenwich theatres, TCM, The Royal Academy, Birmingham Conservatoire, Guildford Civic Hall and the Floral Hall. Michael has directed Lucia di Lammermoor, Falstaff and Tobias and the Angel for NSO. He has directed Cavalli's La Calisto in Birmingham and has been assistant director for Arabella ROH, Don Giovanni Copenhagen/ Vienna, Whirlwind Streetwise Opera, Flammen Theatre an Der Wien, Macbeth and The Turn of the Screw Brussels, Tristan and Isolde ON, Der Rosenkavalier Spoleto, La Finta Giardiniera Maastricht, Carmen Turin. He is assisting Keith Warner on the current ROH Ring cycle and directed the highly acclaimed concert performance of Die Walküre at the Proms in the Albert Hall. Most recently he has directed La voix humaine and assisted Keith Warner on Der Silbersee in Wexford.
Born in Bedford, Rachel Nicholls read French and Linguistic Science at the University of York, furthering her studies at the RCM where she won the President's Rose Bowl for the Most Outstanding Student of the Year, the Cuthbert Smith Prize, the Lies Askonas Prize and the Van Someren Godfrey Prize for English Song. Winner of the Second Prize at the Kathleen Ferrier Memorial Competition, she made her début at The Royal Opera as Flowermaiden Parsifal, returning as Pepik The Cunning Little Vixen, Echo Ariadne auf Naxos and Prilepa The Queen of Spades. Other operatic engagements have included Philippa in John Browne’s Babette’s Feast at the Linbury, Frasquita and Flora The Knot Garden for Scottish Opera, the title role in Erismena, Ginevra Ariodante and Elisa Tolomeo for ETO, Hansel Elephant and Castle for Aldeburgh Festival Opera, Theophano Ottone and Metella Silla at the London Handel Festival, Handel’s Susanna for The Early Opera Company, Bella Who Put Bella in the Wych Elm? for Almeida Opera, Fiordiligi for Longborough Festival Opera, Donna Elvira for Mid Wales Opera, Junon Platée in Lisbon, Tatyana for Scottish Opera Go Round and Scottish Opera on Tour and Jessie Mahagonny Songspiel at Montepulciano.
Rachel made her international concert début singing Messiah under Sir David Willcocks in Halle, a work she has also sung for Bach Collegium Japan. Other concert appearances include performances with the Academy of St Martin-in-the-Fields, the City of Birmingham Symphony Orchestra, the Darmstadt Hofkapelle, the Hanover Band, the London Handel Players, the London Mozart Players, the OSJ, Le Parlement de Musique and the Royal Scottish National Orchestra, as well as at the Brighton, Chelsea, Fishguard, London Handel, Presteigne and Three Choirs Festivals. Conductors with whom she has worked in opera and concert include Thomas Dausgaard, Sir Colin Davis, Sir John Eliot Gardiner, Valery Gergiev, Richard Hickox, Sir Simon Rattle and Masaaki Suzuki. Her broadcasts include Sally Flashmob - The Opera, Schoenberg Quartet No. 2 with the Quatuor Parisii and In Tune for the BBC, and her recordings include B Minor Mass (BIS), Metella Silla (Somm). Hummel Mass in D Minor (Chandos), Music by Cecilia McDowall (Dutton) and Paul Spicer’s Easter Oratorio (Birmingham Bach Choir).
Her current engagements include Joan For You for Music Theatre Wales, Mrs Martin La Cantatrice Chauve at the Tête-à-Tête Opera Festival, the B Minor Mass and Judas Maccabaeus with Bach Collegium Japan, Carmina Burana in Naples, Dvorak Stabat Mater with the BBC Concert Orchestra, Erwartung with the LPO, Il tramonto and Schönberg String Quartet No. 2 with the Quatuor Parisii, Gordon Riley’s GBH with the Scottish Philharmonic Orchestra, Rossini Petite Messe Solennelle in Rome, Verdi Requiem in King’s College, Cambridge, and Shepherd Tannhäuser at the St Endellion Festival.
Rachel made her international concert début singing Messiah under Sir David Willcocks in Halle, a work she has also sung for Bach Collegium Japan. Other concert appearances include performances with the Academy of St Martin-in-the-Fields, the City of Birmingham Symphony Orchestra, the Darmstadt Hofkapelle, the Hanover Band, the London Handel Players, the London Mozart Players, the OSJ, Le Parlement de Musique and the Royal Scottish National Orchestra, as well as at the Brighton, Chelsea, Fishguard, London Handel, Presteigne and Three Choirs Festivals. Conductors with whom she has worked in opera and concert include Thomas Dausgaard, Sir Colin Davis, Sir John Eliot Gardiner, Valery Gergiev, Richard Hickox, Sir Simon Rattle and Masaaki Suzuki. Her broadcasts include Sally Flashmob - The Opera, Schoenberg Quartet No. 2 with the Quatuor Parisii and In Tune for the BBC, and her recordings include B Minor Mass (BIS), Metella Silla (Somm). Hummel Mass in D Minor (Chandos), Music by Cecilia McDowall (Dutton) and Paul Spicer’s Easter Oratorio (Birmingham Bach Choir).
Her current engagements include Joan For You for Music Theatre Wales, Mrs Martin La Cantatrice Chauve at the Tête-à-Tête Opera Festival, the B Minor Mass and Judas Maccabaeus with Bach Collegium Japan, Carmina Burana in Naples, Dvorak Stabat Mater with the BBC Concert Orchestra, Erwartung with the LPO, Il tramonto and Schönberg String Quartet No. 2 with the Quatuor Parisii, Gordon Riley’s GBH with the Scottish Philharmonic Orchestra, Rossini Petite Messe Solennelle in Rome, Verdi Requiem in King’s College, Cambridge, and Shepherd Tannhäuser at the St Endellion Festival.
Rachel Nicholls
Elettra
Elettra
Flora McIntosh
Idamante
Idamante
Born in 1979, Flora McIntosh began singing with Ann Lampard before entering the RNCM where she won several prestigious awards including the Anne Ziegler Award for Singing and the Ricordi Prize for Opera. During her studies Flora received generous support from the Peter Moores Foundation and the Countess of Munster Musical Trust. A Samling Foundation scholar, Flora now works regularly with Paul Farrington and has participated in masterclasses with Jane Eaglen, Della Jones, David Syrus, Graham Vick, Ryland Davies and Sheila Armstrong.
A regular on the concert and oratorio platform, Flora has sung in venues such as Birmingham Symphony Hall, Westminster Cathedral and Whitehall’s Banqueting Hall; and with orchestras such as the Hallé, Orchestra do Algarve and Southbank Sinfonia. Repertoire includes Verdi Requiem; Handel Messiah and Handel’s dramatic cantata La Lucrezia; Rossini Petite messe solennelle; Bach B-minor Mass, St Matthew Passion and Christmas Oratorio; Janácek Glagolitic Mass; Mozart C-minor Mass, Requiem and Coronation Mass. In 2006 she sang the Angel and the Queen in Mendelssohn’s Elijah alongside Sir Thomas Allen.
Flora’s operatic experience includes the title role in Carmen, Meg Page, Papagena and 3rd Lady Die Zauberflöte, Dorabella, Judith Duke Bluebeard’s Castle, The Drummer The Emperor of Atlantis, Masha Pique Dame and Fanny Nelson/Emma Hamilton in the world premiere of Bawden’s A Sailor’s Tale, which she later recorded for NMC. Flora made her international debut in 2000 in Tre cantate per J S Bach at the Batignano Festival where she returned the following year with Handel’s cantata Armida Abbandonata. In 2006 she sang Myrtale in Thaïs for Grange Park Opera and various roles in Ravel’s L’enfant et les sortilèges with the European Opera Centre on tour in Greece and Cyprus. Most recently Flora returned to Grange Park to sing 2nd Lady in a new production of The Magic Flute.
Plans include the title role in Carmen for Opera Brava.
A regular on the concert and oratorio platform, Flora has sung in venues such as Birmingham Symphony Hall, Westminster Cathedral and Whitehall’s Banqueting Hall; and with orchestras such as the Hallé, Orchestra do Algarve and Southbank Sinfonia. Repertoire includes Verdi Requiem; Handel Messiah and Handel’s dramatic cantata La Lucrezia; Rossini Petite messe solennelle; Bach B-minor Mass, St Matthew Passion and Christmas Oratorio; Janácek Glagolitic Mass; Mozart C-minor Mass, Requiem and Coronation Mass. In 2006 she sang the Angel and the Queen in Mendelssohn’s Elijah alongside Sir Thomas Allen.
Flora’s operatic experience includes the title role in Carmen, Meg Page, Papagena and 3rd Lady Die Zauberflöte, Dorabella, Judith Duke Bluebeard’s Castle, The Drummer The Emperor of Atlantis, Masha Pique Dame and Fanny Nelson/Emma Hamilton in the world premiere of Bawden’s A Sailor’s Tale, which she later recorded for NMC. Flora made her international debut in 2000 in Tre cantate per J S Bach at the Batignano Festival where she returned the following year with Handel’s cantata Armida Abbandonata. In 2006 she sang Myrtale in Thaïs for Grange Park Opera and various roles in Ravel’s L’enfant et les sortilèges with the European Opera Centre on tour in Greece and Cyprus. Most recently Flora returned to Grange Park to sing 2nd Lady in a new production of The Magic Flute.
Plans include the title role in Carmen for Opera Brava.
John Hancorn
Arbace
Arbace
Rebecca Bottone
Ilia
Ilia
John Hancorn studied at TCM and the National Opera Studio. He then joined Glyndebourne Festival Opera where he was a member of the chorus, and sang principal roles on the tour and in the season, (e.g. Starveling in Midsummer Night’s Dream). Other roles have included Pantalon Love for 3 Oranges for GTO, Hermann Tales of Hoffmann for The Royal Opera, Patroclus King Priam, Masetto Don Giovanni, Don Fernando Fidelio for Kent Opera, Killian Der Freischutz for WNO and Don Magnifico Cenerentola for WNO, cover of Onegin for Scottish Opera and Captain Balstrode Peter Grimes for ENO, Apollo Orfeo (Monteverdi) with Early Opera project and Roger Norrington, Count Le nozze di Figaro and Gugliemo Cosi fan Tutte for Travelling Opera, title role Don Giovanni for First Act International. For NSO he sang Fieramosca Benvenuto Cellini and Zhuran in the British premiere of Tchaikovsky's The Enchantress. He has also enjoyed a distinguished career in the world of oratorio, recital and consort work.
John has been developing his choral conducting work for fifteen years. He is the music director of the East Sussex Bach Choir, with whom he recently directed Bach St Matthew Passion in Brighton, and has recently directed Purcell Fairy Queen. John is also closely associated with the Brighton Early Music Festival and has conducted several large scale choral works for the Festival, including Monteverdi Vespers and Bach B Minor Mass. This season he will direct the Bremf Singers in Handel Israel in Egypt. He recently conducted the world premiere of Orlando Gough’s The Finnish Prisoner in Lewes.
His first mentor and teacher was the distinguished Hungarian choral director, Laszlo Heltay. John has worked extensively with various choirs, and has been chorus master and assistant conductor for many large scale choral projects, notably Jonathon Harvey’s Passion and Resurrection and Tavener The Veil of the Temple, and Joseph Phibbs Rainland (RAH). He has conceived and directed numerous successful choral concerts and has worked with many new generation artists including Gillian Keith, Liz Watts and Sarah Jane Davies through to established artists, including Anne Mason and Christopher Maltman, and a semi staged performance of Handel’s Saul with Sir John Tomlinson. He also collaborates regularly with leading period instrumentalists, recently conducting Purcell Dido and Aeneas and Bach St John Passion.
He is an Associate Teacher at Trinity College of Music, and is Head of Vocal Studies at Christ’s Hospital. John is also on the staff at the East Sussex Academy of Music and is a vocal co-ordinator for the East Sussex Music Service. He also regularly visits Paris to give vocal workshops.
John has been developing his choral conducting work for fifteen years. He is the music director of the East Sussex Bach Choir, with whom he recently directed Bach St Matthew Passion in Brighton, and has recently directed Purcell Fairy Queen. John is also closely associated with the Brighton Early Music Festival and has conducted several large scale choral works for the Festival, including Monteverdi Vespers and Bach B Minor Mass. This season he will direct the Bremf Singers in Handel Israel in Egypt. He recently conducted the world premiere of Orlando Gough’s The Finnish Prisoner in Lewes.
His first mentor and teacher was the distinguished Hungarian choral director, Laszlo Heltay. John has worked extensively with various choirs, and has been chorus master and assistant conductor for many large scale choral projects, notably Jonathon Harvey’s Passion and Resurrection and Tavener The Veil of the Temple, and Joseph Phibbs Rainland (RAH). He has conceived and directed numerous successful choral concerts and has worked with many new generation artists including Gillian Keith, Liz Watts and Sarah Jane Davies through to established artists, including Anne Mason and Christopher Maltman, and a semi staged performance of Handel’s Saul with Sir John Tomlinson. He also collaborates regularly with leading period instrumentalists, recently conducting Purcell Dido and Aeneas and Bach St John Passion.
He is an Associate Teacher at Trinity College of Music, and is Head of Vocal Studies at Christ’s Hospital. John is also on the staff at the East Sussex Academy of Music and is a vocal co-ordinator for the East Sussex Music Service. He also regularly visits Paris to give vocal workshops.
Rebecca Bottone graduated from the opera course at the RAM where she studied with Alison Pearce. She has sung Blonde Die Entfürung aus dem Serail for the Aix-en-Provence Festival conducted by Minkowski, Casilda The Gondoliers for ETO, Hansel and Gretel for Scottish Touring Opera, Paisiello’s Il Barbiere di Siviglia for Bampton Classical Opera and Nanetta Falstaff for ETO. She was an Associate artist of the Classical Opera Company with she sang Despina Cosi fan tutte, Melia Apollo and Hyacinthus and Elisa Il Re Pastore. In Paris, she has sung Charmeuse Thais under Eschenbach at the Chatelet and Ades Five Eliot Landscapes at Radio France with the composer. At the Edinburgh Festival she has sung the title role in Rossini's Adelaide di Borgogna with the Scottish Chamber Orchestra, conducted by Giuliano Carella, which was recorded for Opera Rara, Beethoven’s C Minor Mass and Christ on the Mount of Olives with the Royal Scottish National Orchestra, conducted by David Robertson and Dialogues des Carmelites with the Royal Scottish National Orchestra, conducted by Stéphane Denève.
Other concert engagements include Handel arias with King's Consort at the Wigmore Hall and the St John Passion with the Orchestra Sinfonica di Milano Giuseppe Verdi at the Teatro degli Arcimboldi, Milan. Future opera engagements include Cricket and Parrott in the world premiere of Jonathan Dove's Pinocchio for Opera North and Blonde for Scottish Opera. For the Royal Opera House, Covent Garden, she will sing the First Innocent in the world premiere of Birtwistle's Minotaur and the Maid in Ades Powder Her Face at the Linbury Studio.
Other concert engagements include Handel arias with King's Consort at the Wigmore Hall and the St John Passion with the Orchestra Sinfonica di Milano Giuseppe Verdi at the Teatro degli Arcimboldi, Milan. Future opera engagements include Cricket and Parrott in the world premiere of Jonathan Dove's Pinocchio for Opera North and Blonde for Scottish Opera. For the Royal Opera House, Covent Garden, she will sing the First Innocent in the world premiere of Birtwistle's Minotaur and the Maid in Ades Powder Her Face at the Linbury Studio.
Amos Christie trained on ENO’s Baylis performance skills course. He made his professional debut at the ROH as First Nobleman Lohengrin. Since then he has sung roles including Werther, Camille Merry Widow, Duke Rigoletto, Rodolfo, Faust, don José and Toby in the European premiere of Bizet’s La maison du Docteur for companies including Opera Holland Park, ETO, Opera Theatre Company Ireland and Carl Rosa Opera. He has also covered Ferrando for ENO. Other roles Include Belmonte, Loge, Nemorino, and Acis Acis and Galatea. Other productions include Don Giovanni, Euryanthe and Iphigenie en Aulide. He sang Raguel in NSO’s Tobias and the Angel.
Amos’ work on the concert platform spans the oratorio repertoire. He made his Wigmore Hall debut in 2004 as The Soldier der Kaiser von Atlantis and in 2006 made his Aldeburgh recital debut.
Amos’ work on the concert platform spans the oratorio repertoire. He made his Wigmore Hall debut in 2004 as The Soldier der Kaiser von Atlantis and in 2006 made his Aldeburgh recital debut.
Amos Christie
High Priest
High Priest