B i o g r a p h y
Charlotte is about to begin her final year of opera school at the Alexander Gibson Opera Studio at the Royal Conservatoire of Scotland in Glasgow. She studies with Helen Lawson, generously supported by the Royal Conservatoire of Scotland Trust and the John and Caroline Sibbald Scholarship. She is also a member of the extra chorus of Opera North.
She has recently graduated from the Royal Northern College of Music, where she studied with Nicholas Powell, generously supported by the Riga Heesom Award. During her time at the RNCM she won the 2017 Dame Eva Turner Prize 'for potential dramatic sopranos' and took part in the Opera North Chorus Mentor Scheme.
Charlotte made her Wigmore Hall debut in May 2018, singing Mark-Anthony Turnage's Harmonie du soir. She had previously worked with the composer for a concert performance of the work in November 2017, as part of the New Music North West Festival.
Previously, Charlotte studied at Trinity Laban Conservatoire of Music and Dance, learning with head of department Dr Linda Hirst. Whilst at Trinity she was awarded the Helen Roll and Eva Malpass scholarships, was highly commended in the North London Rosenbatt Prize and won a place on the English National Opera’s Chorus Mentor Scheme.
Before specialising in opera, Charlotte toured worldwide as a soloist with Irish choral group Anúna (of Riverdance fame) for several years, making innumerable trips to Europe, the Americas and Asia. As part of the group, she recorded six albums and three DVDs, including the famous soprano solos of Allegri’s Miserere, arranged by Anúna’s director Michael McGlynn.
Charlotte also has a degree in musicology from King’s College London, where she won the Advanced Performance Studies Prize and attended the Royal Academy of Music, where she studied with Dr Nicholas Clapton. Whilst at KCL, she held a choral scholarship in the prestigious King's College London Chapel Choir (directed by David Trendell) and was music librarian for two years. She had previously held a Guinness Choral Scholarship to Christchurch Cathedral Dublin in her gap year.
Charlotte has performed in a wide variety of opera productions, including as one of the ragazzi soloists in the Royal Opera House’s acclaimed performances of Donizetti’s Linda Di Chamounix, recorded and released by Opera Rara. Other roles include The Female Chorus (narrator) in Britten's The Rape of Lucretia, the Countess in Mozart's The Marriage of Figaro (RCS), Eva in Wagner's Die Meistersinger von Nürnberg (Fulham Opera), Bessie Throckmorton in Edward German's Merrie England (concert performance with Sandbach Choral Society), the title role in Hindemith's Sancta Susanna (Piggots), mother in Humperdinck's Hansel & Gretel (RNCM), Noémie (ugly step sister) in Massenet's Cendrillon (RNCM), La Baronne de Gondremarck in Offenbach's La Vie Parisienne (RNCM), Helena in Britten’s A Midsummer Night’s Dream (Trinity Laban), understudying the title role in Donizetti’s Lucia di Lammermoor (Winslow Hall), Donna Anna in Mozart’s Don Giovanni (Holbourne Opera), Maria Bertram in Jonathan Dove’s Mansfield Park (Hampstead Garden Opera), both Filicitas and Dincocrates in Nick Bicat’s staged oratorio Perpetua (Cantata Dramatica) and Gaspara Stampa in Caroline Heslop’s chamber opera Stratiami Amor (Blackheath Halls).
In demand as an oratorio soloist, Charlotte's recent highlights include Handel’s Messiah (Bristol Choral Society), Haydn’s Nelson Mass (Royal Northern Sinfonia), Rossini’s Petite messe solonnelle (Sandbach Choral Society), Haydn's Theresienmesse and Mozart's Requiem (The Royal Leamington Spa Bach Choir), Saul (Border Singers and Shropshire Symphonia) and Verdi's Requiem (Gravesham Choral Society and Orchestra). Upcoming engagements include Haydn's Creation Mass, Beethoven's Mass in C (Congleton Choral Society), Beethoven’s 9th Symphony (Peterborough Choral Society) and Bach's Magnificat (Chiswick Choir & Orchestra).
Other recent performance venues include Edinburgh's Usher Hall, The Royal Festival Hall, The Royal Albert Hall, The Hayward Gallery, the Barbican, the Cadogan Hall, St James’s Piccadilly, The National Gallery and The Sheldonian Theatre in Oxford. She enjoys frequent travels abroad, including thrice being awarded scholarships to study at the Esztergom Liszt Festival in Hungary as well as touring Europe with the Philharmonia Chorus and the Blossom Street Singers.
Physical theatre and acting are an important part of Charlotte's life. During her undergraduate, she played the role of a chorister for two seasons in the National Theatre's sell-out Olivier stage production of Coram Boy, directed by Melly Still with music by Adrian Sutton. She has also studied acting formally, taking a part-time course at the London School of Film Media and Performance, where she was awarded a full scholarship (Kevin Spacey Foundation Scholarship) and won the Silver Medal Award. She has also worked on two large scale multi-disciplinary projects: an Arts Council funded opera exploration with The Puppet Centre and Central School of Speech and Drama as part of their Puppetry in Opera symposium and a ‘Singing Through Puppets’ workshop series for a new production of A Midsummer Night’s Dream with chamber ensemble Chroma.
Contemporary music is one of Charlotte’s main focuses. In the summer of 2020 she hoped to perform new works by student composers at the Royal Conservatoire of Scotland with the Red Note Ensemble but these have sadly been postponed (see Events for details). Composers she has recently worked with include Mark-Anthony Turnage (whose work she will make her Wigmore Hall debut with in May 2018), Jonathan Dove (for whom she sung the London premier of Mansfield Park and will work with again Flight for RCS in 2021 -see events), Stephen McNeff (for whom she has worked several times workshopping new material) and Simone Spagnolo. She is currently studying works by Judith Weir, Ned Rorem and Harrison Birtwistle. Following the success of her performance of Caitlin Rowley’s solo opera Breadcrumbs at the Tête-à-Tête Festival (King’s Place) in summer 2014 (in the presence of Jane Manning who helped develop the work), Charlotte and Caitlin are currently devising an extension of the work for future performance.