Emily's professional choral performances include Inspirations: Ligeti & Ravel (Feb 2017), and Stravinsky: Myths and Rituals (Sept 2016) both at The Royal Festival Hall, London, & Stravinsky: Faith (June 2016), St John Smith's Square, all with the Philharmonia Choir and Orchestra under Esa-Pekka Salonen (Choral Director Aidan Oliver) and broadcast on BBC Radio 3. Emily is a regular deputy singer at churches across London namely, Spanish Place, Marylebone, St Maragret's Church, Westminster and Carmelite Prioy, Kensington. Emily has just finished her second season at Thursford Christmas Spectacular.
Opera performances include Fiordiligi in extracts from Così fan Tutte, Mozart, at Durham University's ‘Last Night of the Proms.’ Second Lady in Mozart's Magic Flute; a highly seductive, yet comic role which she has thoroughly enjoyed. First Woman, in Purcell's Dido and Aeneas at the Sage in Newcastle in 2011. Her debut lead role as Dido in Dido and Aeneas with Durham Opera Ensemble. Last summer (2016) she toured with the National Gilbert & Sullivan Opera Company in the chorus of Pirates of Penzance, Yeomen of the Guard, The Mikado and The Sorcerer.
In 2015 Emily co-founded the opera duo Belle Voci, a duo specialising in opera and classical crossover. Highlights include performing at the Liverpool Echo Arena for the Liverpool International Horse Show 2016 and Opera Dinners at many of the London Clubs, including Royal Automobile Club and The Buck’s Club. Belle Voci have been awarded funding and are due to record a CD of well-loved classics in May this year.
Emily is now embarking on the beginning of her freelance musical career and will be paying the role of Countess in a new work The Marriage of Kim K which was touring the UK June- September. In September 2017 Emily began the Graduate Diploma Course at the Royal College of Music after receiving an unconditional offer.
Edinburgh-born Soprano, Catriona Hewitson began her training at the City of Edinburgh Music School before studying at the Royal Northern College of Music and the Royal College of Music where she is currently a member of their International Opera School. She was also a recent member of the ENO Opera works training programme. She has won several prizes including the Clare Croiza Prize for French Song, the Chris Petty English Song Competition, the James Oncken Prize for Song and the Cuthbert Smith Prize as well as coming second in the Lies Askonas Competition, being a finalist in the Frederic Cox Award for Singers, the Elizabeth Harwood Memorial Award. Most recently she was a finalist in both the 2016 Maureen Lehane Vocal Awards and Royal Over-Seas League Vocal Category.
Highlights on the concert platform include performing in St Martin-in-the-Fields as part of the Brandeburg Choral Festival, making her debut in the Bridgewater Hall, singing in the Edinburgh International Festival Songlines series and touring Northern Ireland with the Ulster Orchestra. She has performed recitals for the Scottish Arts Club and the Edinburgh Festival Fringe, as well as in Manchester and London. She has sung as a member of the BBC Radio 4 Daily Service Singers, London Voices, the Orchestra for the Age of Enlightenment Chorus, Ludus Baroque , Caledonian Voices, and the National Youth Choir of Scotland.
Catriona has worked with English Touring Opera covering the roles of Sophie Werther, Yniold Pelléas et Mélisande and Iphise Dardanus by Rameau. Other roles include Susanna The Marriage of Figaro, Musetta La bohème, Monica The Medium (Magnetic Opera), Cis Albert Herring (The Grange Festival), Ida Die Fledermaus, Emmie Albert Herring (RCMIOS), Amore Orfeo ed Euridice, Harry Albert Herring, Marta Company, Wife Paradise Moscow (RNCM), First Young Tree/Squirrel Paul Bunyan (British Youth Opera), Ensemble Giove in Argo (London Handel Festival/RCMIOS), Amour Orfeo and Eurydice (Winterbourne Opera), Belinda Dido and Aeneas (Ebarocum Baroque) and chorus with Opera Holland Park.
Future performances include returning include the Rooster and other small roles in The Cunning Little Vixen at RCMIOS. Catriona was an RCM Scholar supported by the Emma Rose Memorial Award and has also been generously supported by the Hope Scott Trust, James Caird Travelling Fund, Cross Trust and PS.
Born and raised in Leeds, Beth Moxon is in her second year of studies at the Royal College of Music International Opera School with Dinah Harries. She previously studied on the postgraduate Preparatory Opera Course at the Royal Academy of Music, where she studied with Catherine Wyn Rogers, having completed her bachelor’s at the Royal Welsh College of Music and Drama with Marilyn Rees.
A keen stage performer, Beth’s operatic roles include the Rosimonda (Handel’s Faramondo, Royal College of Music) Woodpecker (cover) (Janáček’s The Cunning Little Vixen, Glyndebourne Festival Opera), 2nd Bridesmaid (cover) (Mozart’s Le nozze di Figaro, Glyndebourne Festival Opera), Maurya (cover) (Vaughan Williams’ Riders to the Sea, British Youth Opera), Hermia (Britten’s A Midsummer Night’s Dream, Operainthecity) Stewardess (cover) (Dove’s Flight, Opera Holland Park), Nancy (Britten’s Albert Herring, Hampstead Garden Opera), 3rd Boy (Mozart’s Die Zauberflöte, Woodhouse Opera Festival) Frau Viehmann, the Witch and Granny (Burry’s The Brothers Grimm) and Juno/Public Opinion (Offenbach’s Orpheus in the Underworld, Opera'r Ddraig/Leeds Youth Opera).
Beth has also appeared in the chorus for the world premiere of Brett Dean’s Hamlet as well as Verdi’s La Traviata, Donizetti’s Don Pasquale and Mozart’s La Clemenza di Tito (Glyndebourne Festival Opera 2017), Wagner’s Die Meistersinger von Nürnberg, Mozart’s Le nozze di Figaro and Berlioz’s Béatrice et Bénédict (Glyndebourne Festival Opera 2016), Holst’s Sãvitri (British Youth Opera 2015), Mozart’s Le nozze di Figaro and Stravinsky’s The Rake’s Progress (Royal Academy Opera 2015), Mascagni’s Cavalleria Rusticana and Leoncavallo’s i Pagliacci (Woodhouse Opera 2014), Puccini’s La Bohéme and Mussorgsky’s Boris Godunov (St. Endellion Music Festival 2014/2015) and Gounod’s Faust (Leeds Youth Opera 2010).
Oratorio engagements include Mendelssohn’s Elijah, Elgar’s The Music Makers, Verdi’s Requiem, Mozart’s Requiem & Coronation Mass, Rossini’s Petite Messe Solennelle, Dvořák’s Mass in D, Bernstein’s Chichester Psalms, Handel’s Messiah, Vivaldi’s Gloria & Magnificat and Haydn’s Stabat Mater.
Since coming to the Royal College of Music, Beth has taken part in masterclasses with Brigitte Fassbaender at the Wigmore Hall, Ann Murray and Roger Vignoles. She also sang in Vaughan William’s Serenade to Music at a fundraising event in the Throne Room at Buckingham Palace with fifteen of her peers.
Beth is an RCM Scholar supported by a Pidem Award and is also generously supported by The Vivien and Peter Beckwith Fund, Josephine Baker Trust and Commander and Mrs Vigrass.
24 year old British Counter-Tenor Tom Scott-Cowell graduated with First Class Honours from the Royal College of Music and is continuing at the RCM on the Masters course as a Douglas and Hilda Simmonds Scholar and is also generously supported by a Help Musicians UK Maidment Award, a Help Musicians Ian Fleming Award and the Josephine Baker Trust. Tom is currently under the tutelage of Dinah Harris and Caroline Dowdle having previously studied with Lawrence Zazzo, Eiddwen Harrhy, John Blakely, Andrew Robinson and Stephen Varcoe.
His love for classical music began at an early age, and at 8 years old won a choral scholarship to Westminster Abbey under James O’Donnell and developed quickly as a strong solo performer. At the Abbey, as well as the daily services, he took part in many concerts and televised events, sang in the Prom concerts at the Royal Albert Hall, and toured extensively in the USA, Germany, Denmark and Spain. He also contributed to a number of recordings with the Abbey choir including The Feast of St Edward and Trinity Sunday. In 2006 Tom became a Music Scholar at Radley College and went on to hold a choral scholarship at Hereford Cathedral in his gap year.
As a soloist Tom has taken part in masterclasses with leading figures such as Michael Chance, Ashley Stafford, Lawrence Zazzo, Susan Waters, Dame Emma Kirkby and Andrew Kennedy. Recent engagements have included Händel’s Messiah, Ode for the Birthday of Queen Anne and Israel in Egypt, Vivaldi’s Gloria and Stabat Mater, Bach’s Magnificat, St John Passion, BWV 131, Actus Tragicus, Tavener’s Lament for Jerusalem, Purcell’s Come Ye Sons of Art, Bernstein’s Chichester Pslams, Pergolesi’s Stabat Mater the world premiere of Graham Fitkin’s Disco to close the Cheltenham Music Festival (2015), The South American Baroque Music Festival, Harwich Festival, Swansea International Festival and the Barnes Music Festival. On stage he has played Polinesso in Händel’s Ariodante as part of the London Handel Festival 2016 in conjunction with the Royal College of Music International Opera School (cond. Laurence Cummings, dir. James Bonas), the role of Pastore III in Monteverdi’s Orfeo (Royal College of Music Scenes, cond. Johnathan Peter Kenny, dir. Sebastian Harcombe), Medoro in Handel’s Orlando (Royal College of Music Scenes), in Autumn 2016 he covered the roles of Ericlea, L’Humana Fragilitá in Il ritorno d’Ulisse in Patria for English Touring Opera and will be performing the role of Nireno and covering the role of Tolomeo in Handel’s Giulio Cesare for ETO in 2017. He performed the title role in Acis and Galatea (1732) in Aldeburgh and in 2017 returned to the London Handel Festival to perform Gernando in Händel’s Faramondo under Laurence Cummings. In competitions Tom won the Somerset Opera Prize and runner up of the Somerset Song Prize 2015, a semi-finalist in the London Bach Society’s Bach Singing Prize and was 2nd in the Brooks-van der Pump English Song Competition.
Wagner Moreira is a member of the Royal Academy Opera where he studies with Richard Berkeley- Steele and Iain Ledingham. He obtained a BMus degree from the Federal University of Minas Gerais and a MA degree with Distinction from the Royal Academy of Music.
He received 1st Prize in the 10th Villa-Lobos National Contest, was a prize winner in the 1st Young Soloists of the Symphonic Orchestra of Minas Gerais Contest and in the 9th Bidu Sayão International Singing Contest. During his Master’s degree at the Royal Academy of Music he was awarded 2nd Prize at the Schumann Lieder Competition.
He has performed the roles of Don Ottavio in Mozart’s Don Giovanni, Oebalus in Mozart’s Apollo et Hyacinthus, Basílio and Don Curzio in Mozart’s Le nozze di Fígaro, Secondo soldato in Monteverdi’s L’incoronazione di Poppea, Goro in Puccini’s Madama Butterfly and Pluto in Offenbach’s Orphée aux Enfers. Recent concerts and upcoming engagements include Mozart’s Requiem and Coronation Mass, Beethoven`s Mass in C major and the Ninth Symphony, Haydn`s Nelson Mass, Handel`s Messiah and Bach’s St John’s Passion.
Wagner is extremely grateful for the generous support of the Santander Universities UK Scholarship, Fordyce Scholarship, Simon Fletcher Charitable Trust, Dartington Hall Trust and Josephine Baker Trust.
Tenor Stephen Mills is in demand throughout the classical repertoire and is sought after for both Oratorio and Opera, as well as on the concert platform. He is currently undertaking a Masters in Performance as the Dmitri Hvorostovsky Scholar at the Royal College of Music under the tutelage of Tim Evans-Jones and the continued guidance of Paul Bambrough. He is also generously supported by The Kathleen Trust, The Clemence Charitable Settlement, The Mario Lanza Educational Foundation, The Tom Cocklin Trust and the Josephine Baker Trust. In 2014, Stephen received a First Class Honours degree from the Birmingham Conservatoire where he studied with Julian Pike and Paul Bambrough, having received a scholarship from the EMI Music Sound Foundation.
His operatic experience includes Le Fils in Les mamelles de Tirésias, Ormindo in Cavalli’s Ormindo, Vašek in The Bartered Bride, Laisander in A Midsummer Night’s Dream, Tenor Soloist in Terteryan’s The Ring of Fire, Sam Kaplan in Street Scene, Don Ottavio in Don Giovanni, Bastien in Bastien und Bastienne, Gherardo in Gianni Schicchi, Richard Dauntless in Ruddigore, Hugh in Hugh the Drover, Mr Erlanson in A Little Night Music, Gomatz in Zaide and Le Chevalier in Dialogues des Carmélite. Stephen has been a member of the Grange Park Opera Chorus in both 2015 and 2016 in their productions of La Boheme, Samson et Dalila, La Fanciulla del West and Don Carlo. He also sang in the Chorus at Lyon Opera House in the world première of Benjamin, derniere nuit as part of the ‘Festival pour l’humanité’ in January 2016. Stephen performed the part of Heddle Nash in Vaughan Williams’ Serenade to Music at Buckingham Palace in February 2017 conducted by John Wilson and also performed Vaughan Williams’ On Wenlock Edge at Leith Hill Place, Surrey in May 2017 with Dr. Natasha Loges and the Bach Quartet. Stephen has been awarded a place on the Les Azuriales Young Artist Programme in September, where he will sing the role of Bardolfo in Verdi’s Falstaff, before continuing his Masters studies at the RCM.
Stephen received second place in both the Cecil Drew Oratorio Prize in 2013 and the Birmingham Conservatoire Singing prize in 2014 and reached the finals of the RCM Lieder Prize in 2016, the Kathleen Ferrier Youth Competition in 2011, the Reginald Vincent Lieder Prize in 2012 and the Edward Brookes Lieder Prize in 2014. His solo oratorio experience includes Bach’s Magnificat, B Minor Mass, St. John Passion, Cantata No.21 and Christmas Oratorio, Mendelssohn’s Elijah, Stainer’s Crucifixion, Mozart’s C Minor Mass, Litaniae Lauretanae and Requiem, Handel’s Messiah, Haydn’s Nelson Mass, Missa Sancti Nicolai and Creation, Gounod’s Messe Solennelle de Ste. Cécile and Britten’s Saint Nicolas Mass.
He has worked with conductors including Michael Rosewell, Gianluca Marciano, Stephen Barlow, John Wilson, Bernhard Kontarsky and Peter Robinson as well as directors such as John Copley, Elaine Kidd, Stephen Medcalf, Jo Davies, Michael Barry, Patrick Mason, Nina Brazier and Rodula Gaitanou.
Kieran Rayner is a London-based New Zealand operatic baritone, currently studying at the Royal College of Music International Opera School with Russell Smythe. In July he completed a Masters of Performance with Distinction at the Royal College. He graduated from the New Zealand School of Music in 2011 with Distinction in a Postgraduate Diploma of Music (Performance), studying under Emily Mair and Margaret Medlyn, combined with a BA in English Literature. He was a 2012-13 Freemasons Dame Malvina Major Emerging Artist with New Zealand Opera. He is currently generously supported by the Kiri Te Kanawa Foundation and Help Musicians UK.
In late 2014, Kieran arrived in Britain to begin full-time postgraduate study at the College. Alongside this, he was soon being engaged as a soloist both in operas and oratorio concerts in London and further afield. To date, he has been cast in principal roles in six Royal College of Music International Opera School productions. Additionally, he has performed major roles with British Youth Opera, English Touring Opera, Park Opera, and Saffron Hall, as well as oratorio solos for choral societies in Chichester, Somerset, Suffolk, Cambridgeshire, Dorset, Cornwall, and Worcestershire.
His operatic repertoire includes core roles such as Figaro in The Barber of Seville and Guglielmo in Così Fan Tutte, as well as baroque roles including Melisso in Alcina and Gustavo in Faramondo, and contemporary works such as Philip Sunderland’s The Glass Knight (world premiere), and Crime and Punishment – a set of short modern operas at the RCM, in which Kieran played three demanding principal roles. He has a flair both for the comedic (Le Mari in Les Mamelles de Tirésias, Eisenstein in Die Fledermaus), and dramatic (The Forester in The Cunning Little Vixen, Crespel & Luther in The Tales of Hoffmann). Concert highlights include Vaughan Williams’s Serenade to Music with John Wilson at Buckingham Palace, Stravinsky’s Pulcinella with Vladimir Jurowsky, Bach’s Matthäus-Passion at Southwark Cathedral (singing Christus and Choir I arias), Haydn’s Creation at Chichester Cathedral, Mahler’s Lieder eines fahrenden Gesellen at the Wellington Opera House NZ, and a memorable Gounod St Cecilia Mass in Nouméa, New Caledonia.
He won 2nd prize in both the 2017 Brooks Van-der-Pump and the 2016 AESS Patricia Routledge English Song competitions, was a 2014 Lexus Song Quest semifinalist, won the Hamilton Vocal Competitions 2012, and was a 2012 New Zealand Aria finalist. He has an eclectic range of other skills: from period dance to Shakespearean theatre and modern tap dance. In 2014 he narrated several stories for ‘Shortz: Stories from Kapiti’, an audio collection of New Zealand writing for children. For further information about Kieran, including audio and video clips, visit www.kieranrayner.com.
Harry Thatcher is a British baritone. He is a Betty Brenner Scholar and is supported by The Basil Coleman Opera Award, The Josephine Baker Trust and John Clemence at The Royal College of Music. Harry under the tutelage of Russell Smythe. On the concert platform Harry has performed with the likes of the Royal Philharmonic Orchestra and the Orchestra of Opera North in venues such as the Royal Albert Hall and the Birmingham Symphony Hall. Operatic roles and scenes for The Royal College of Music International Opera School include Ernest Priester ‘Die Zauberflöte’ (Mozart), Billy Budd ‘Billy Budd’ (Britten), Taurquinius ‘The Rape of Lucretia’ (Britten), Demetrius ‘A Midsummer Night’s Dream’ (Britten) and Frank ‘Die Fledermaus’ (Strauss). Harry has covered the role of Death ‘Savitri’ (Holst) and has sung Spencer Coyle in ‘Owen Wingrave’ (Britten) for British Youth Opera. Harry has sung Bello ‘La Fancuilla del West’ (Puccini) and Flemish deputy ‘Don Carlo’ (Verdi) and Starek ‘Jenufa’ (Janacek) for Grange Park Opera. Harry was a Somerset Song Competition finalist 2015 and Won the Basil A Turner prize 2017 for Spencer Coyle in Owen Wingrave (BYO). This summer has sang ‘Nardo’ ‘The Garden of Disguises’ (Mozart) for Ryedale Festival Opera.