The home of professional classical singers and opera auditions

Forgot your password?

Enter your email address, and if you’re registered as a member of this site, we’ll send you a reset of your password via email.

 
Photo: M.A.D photography

Anna Loveday

Voice Type:

Mezzo-Soprano

Nationality:

British

Country:

United Kingdom

Languages (fluent):

English

Opera

Lady Macbeth
Macbeth (Verdi)
Midsummer Opera
2018
Carmen
Carmen (Bizet)
Brent Opera
2018
Maddalena
Rigoletto (Verdi)
Park Opera
2017
Laura
La Gioconda (Ponchielli)
Midsummer Opera
2017
Lady Macbeth
Macbeth (Verdi)
Southgate Opera
2017
Amneris
Aida (Verdi)
Park Opera
2016
Carmen
Carmen (Bizet)
Southgate Opera
2016
Carmen
Carmen (Bizet)
Windsor and Eton Opera
2016

Contemporary Opera

Rumena Haariden
Mandarin's Dilemma (Joe St. Johanser)
Nomad Theatre, East Horsley
2015

Oratorio/Concerts

Alto Soloist.
Messiah (Handel)
Exon Singers, Tavistock Parish Church, Devon
2018
Mezzo soprano soloist
Requiem (Verdi)
Anvil, Basingstoke
2016
Mezzo soprano soloist
Symphony No.2 (Mahler)
St. Johns' Church, Waterloo
2016

Discography

Puck
Midsummer Night's Dream (Joe St. Johanser)
Recording
2018
Venus
Rose Red Chain (Joe St. Johanser)
Recording
2014
Renata Biebersson
Clarges (Joe St.Johanser)
Recording
2014
Pamina, Marie and Darwin Lichley
Space Opera (Joe St. Johanser)
Recording
2013

Covered Covered & Performed Scenes Premiere of New Work Concert

Lady Macbeth was excellent. I understand she calls herself a mezzo, so I did wonder if she was up to singing the role. She was. A strong and radiant voice with which she sang this difficult role with aplomb and vitality. The range didn't appear to cause any problems for a mezzo and her high D flat at the end of the sleepwalking scene was beautifully executed. Georgina Turner (2017)

Perhaps the best actress was Anna Loveday, who believably played Laura as the physically and emotionally abused trophy wife of an intimidating bully. Vocally Loveday was at her best when she and Gioconda have their brainstorming diva duel for the love of Enzo in Act II. Jim Pritchard (Seenandheard-international.com) (2017)

The undisputed start of Southgate's Macbeth was Lady Macbeth. You don't mess with Lady M and this production understood that fully. Anna Loveday has the perfect voice and stage presence for the part; sure, strong, weighty and expressive. Her melodic lines in the ensembles - where she soars over everyone else - are just spine tingling. Basso di Cornetto (2017)

You can’t have an easy going Carmen. The opera is about her – the clue is in the title – and she needs to be passionate. The whole thing hangs on her having enough va va voom for men to die for her. If she doesn’t, it won’t work ... the night I went Carmen was Anna Loveday. And she practically set the stage on fire. Some of those moves were – they were - mmmm, yes! I thought - she must be a true Latina! Turns out she isn’t – so a very fine performance indeed! She also had genuine stage presence – you couldn’t take your eyes off her. It all worked … Stephen Dinsdale (2016)

MMUS Performance and Related Studies
Royal Holloway University of London
Opera School
Morley College

Contact Anna Loveday

Any message that you send here will be checked by Audition Oracle for suitability (to filter out spam), and then forwarded to Anna Loveday.