B i o g r a p h y
Charlotte is in her second year of the opera course 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. 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 made her Wigmore Hall debut in May 2018, singing Mark-Anthony Turnage's Harmonie du soir, having 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 national choir Anúna (of Riverdance fame), 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 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 previously held a Guinness Choral Scholarship to Christchurch Cathedral Dublin in her gap year. During her undergraduate she performed for two extended seasons at the National Theatre in their highly acclaimed production of Coram Boy and for the English National Opera Baylis as a chamber soloist. Charlotte also won the King's College London Advanced Performance Studies Prize and attended the Royal Academy of Music, where she studied with Dr Nicholas Clapton. She has also studied acting part-time on a full scholarship (her scholarship is now called the Kevin Spacey Foundation Scholarship) to the London School of Film Media and Performance, where she won the Silver Medal award. During this time, 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.
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 Countess in Mozart's The Marriage of Figaro (RCS), Eva in Wagner's Die Meistersinger von Nürnberg (Fulham Opera), 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), Vitellia in Mozart’s La Clemenza di Tito (Trinity Laban), 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).
Upcoming roles include Bessie Throckmorton in Edward German's comic opera Merrie England (Sandbach). She will also be covering the role of Eva in Fulham Opera's production of Wagner's Die Meistersinger von Nürnberg in August.
In demand as an oratorio soloist, Charlotte's recent highlights include Verdi’s Requiem (Gravesham Choral Society in Rochester Cathedral), Mozart’s C Minor Mass (Bristol Choral Society, Colston Hall), Haydn's Nelson Mass (Royal Northern Sinfonia, The Sage Gateshead), Handel’s Messiah (Sandbach Choral Society), Bach’s St John Passion (Cobham Choral Society), Haydn's Theresienmesse (Royal Leamington Bach Choir) and Vaughan-Williams’ A Sea Symphony (Tatton Singers). Upcoming engagements include Mozart's Requiem (Gravesham Choral Society), Handel's Messiah (Bristol Choral Society) and Bach's Magnificat (Chiswick Choir & Orchestra).
Other recent performance venues include 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.
Contemporary opera is one of Charlotte’s main focuses, combined with a strong interest in physical theatre, puppetry and movement. She has recently worked on two large 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.
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), 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.