Can you tell us about your role as part of the Young Artists programme at Opera Holland Park?

I’ll be joining Opera Holland Park as a Young Artist this summer, singing Fiordiligi in the YA performance of Così fan tutte, which is an absolute dream role of mine. As part of the programme, I will also be covering the role in the main cast, meaning I’ll be in the rehearsal room throughout, as well as preparing the Young Artists’ performance alongside. We also have the opportunity to perform in the schools’ show, which I’m particularly excited about, as I truly believe in the importance of music outreach and education. There’s nothing quite like the energy that hundreds of children bring to a performance; it’s completely infectious and always magical!

It’s a real privilege to work with a company I’ve admired for a long time, and to be part of a programme that genuinely bridges the gap between formal training and the profession. I’m looking forward to being challenged, and to learning as much as I can from the process.

What are you most looking forward to about working on Così fan tutte this summer?

2026 appears to have become my unofficial “Year of Così”, as I’ve just finished a tour of the opera in English. I’m really looking forward to getting even further under Fiordiligi’s skin, this time in Italian. I love how the piece constantly walks the line between sincerity and complete chaos. One minute it’s devastatingly honest, the next it’s utterly ridiculous. Fiordiligi tries very hard to be morally steadfast… with varying degrees of success. I’m also really looking forward to working on the piece with a new team, with colleagues both old and new. There’s nothing quite like the first day of rehearsals, equal parts excitement and mild panic, but always brilliant.

In light of the secrets, disguises and general mischief in Così – have you ever played a prank (or had one played on you) during a show or rehearsal period?

In a production of Die Zauberflöte, where I was singing First Lady, we made a small adjustment to Papageno’s magic bells box. With his full knowledge and blessing, one of the cast had very helpfully provided a photograph of himself in a state of undress, preserving his dignity only with a strategically placed vocal score of the opera. The box was lit from within, so in what should have been a moment of pure theatrical wonder, we all gathered round and gazed into it… to be met with something rather less celestial. The main issue was that I knew exactly what was coming and still had to look completely transported by the magic, which proved optimistic. A useful reminder that in opera, as in life, one should never assume the contents of the magic box!

Every performer has had a moment where something doesn’t quite go to plan. Do you have a memorable on-stage mishap?

My costume once fell apart whilst I was mid-scene. In hindsight, it was hilarious… in the moment, utterly mortifying!

Are there any roles you haven’t performed yet that you’d particularly love to take on in the future?

There are plenty, but I’m particularly drawn to roles that evolve with the singer over time. I’d love to revisit the Countess in Le nozze di Figaro, and I’m also very interested in roles such as Mimì and Anne Trulove, with Tosca and the Marschallin as longer-term goals.

What is an opera myth or misconception that you’d like to see debunked?

That opera is distant or difficult to connect with. At its best, it’s simply a celebration of our human flaws (just louder and more dramatic!). Once you realise that, it becomes much easier to relate to.

What’s one piece of advice – musical or otherwise – that has stayed with you?

Build your team. I think this is as true in life as it is in singing. It can often feel like a solo sport, but it really isn’t. The more I’ve worked, the more I’ve realised how important it is to have the right people around you, teachers, coaches, colleagues, as well as friends and family, who can lift you up, challenge you and keep you grounded at the same time.

 

Interview by Holly Bancroft.

Eleanor is kindly sponsored by Lynne Gillon, The Nicholas Boas Charitable Trust, Stephen Ratcliffe, and The OHP Volunteer Syndicate