Covered Covered & Performed Scenes Premiere of New Work Concert
" Beth Moxon was a dissatisfied, emotionally frustrated Ella, living largely in her imagination." - Opera Today (2018)
"...the cast of four produced dramatically focused and confidently sung performances... Beth Moxon delivered Ella’s short, declamatory lines with conviction and fluency, while managing to make Ella appear convincingly troubled and ‘lost’." - Opera Today (2018)
"Beth Moxon convincingly charts Ella’s quiet disintegration" - ★★★★ Classical Source (2018)
"The music requires large forces and much subtlety of tone. The combined choirs were equal to the task, as was the striking mezzo, Leeds-born Beth Moxon, whose strong voice and clear diction enabled her to rise above the tremendous wave of sound from choir and orchestra at her back." - Bill Blackburn (2018)
"Beth Moxon convincingly captured the conflicted Rosimonda’s inner battle with desire and duty. The only thing she seemed certain about, as she strutted and fretted back and forth, compulsively chain-smoking, was her disdain for Gernando. Rosimonda’s vengeance aria bristled, but her final aria charmed and calmed." Opera Today (2017)
"Beth Moxon is the glamorous, self-assured Rosimonda" - ★★★★ The Guardian (2017)
"Beth Moxon’s mobster princess Rosimonda has a rich and wide-ranging coloratura." - ★★★★ The Express (2017)
"Beth Moxon’s suave Rosimonda is the torch singer...Moxon puts her arias over with the panache of a cabaret star." - ★★★★ The Stage (2017)
"There was more Handel (Verdi Prati from Alcina) from mezzo Beth Moxon: sad, wistful and lovely. My highlight of the evening was Monteverdi's Pur ti miro (L'incoronazione di Poppea). A stunning duet from Beth and Sofia, they beamed with serene enjoyment as they recreated the magic of music first performed in 1643" David Winskill (2016)
Vaughan William's Riders to the Sea at British Youth Opera 2015 "Strikingly mature, both vocally and dramatically, Beth Moxon’s Maurya is the centre to this maelstrom of musical grief. There’s a stillness to her performance that chafes effectively against the energy of Rebecca Silverman’s Cathleen." The Spectator (2015)
"Also startlingly good were John Stainsby (Sid), a voice of raw power combined with finesse and the golden-toned, golden-headed Beth Moxon (Nancy), who grew with her role almost as much as Davies (Albert Herring) did in his." Alice McVeigh - A Very Joyful Production - Benjamin Britten's 'Albert Herring' at Hampstead Garden Opera. (2014)
Born and raised in Leeds, Beth is currently a 2018/19 Young Artist for the Opéra Nationale de Lyon and the National Opera Studio having completed her studies at the Royal College of Music's International Opera School where she studied with Dinah Harris. Beth completed her Masters on the Preparatory Opera course with distinction at the Royal Academy of Music studying with Catherine Wyn Rogers and her undergraduate at the Royal Welsh College of Music and Drama where she studied with Marilyn Rees.
On stage, Beth has performed the roles of Dorabella (Mozart's Cosi fan tutte), Ella (Huw Watkins' In the locked room), Hermia (Britten's A Midsummer Night's Dream), Lapak/Woodpecker/Grasshopper (Janáček's The Cunning Little Vixen), Rosimonda (Handel's Faramondo, London Handel Festival 2017), Maurya (Riders to the Sea), Nancy (Albert Herring), 3rd Boy (Die Zauberflöte) Frau Viehmann, the Witch and Granny in the European premier of Canadian composer Dean Burry’s chamber opera The Brothers Grimm, Juno/Public Opinion (Orpheus in the Underworld) as well as appearing as chorus in the world premier of Brett Dean's Hamlet, La Traviata, Don Pasquale, La Clemenza di Tito (Glyndebourne Festival Opera 2017), Die Meistersinger von Nürnberg, Le nozze di Figaro & Béatrice et Bénédict (Glyndebourne Festival Opera 2016), The Rake's Progress, Cavalleria Rusticana/i Pagliacci, La Bohéme and Faust. Beth has covered the roles of Woodpecker in Janacek's The Cunning Little Vixen and 2nd Bridesmaid in Mozart's Le nozze di Figaro with Glyndebourne Festival Opera and Stewardess in Jonathan Dove's Flight with Opera Holland Park. Oratorio engagements include: Mendelssohn's Elijah, Elgar's The Music Makers, Verdi's Requiem, Mozart's Requiem, Rossini's Petite Messe Solennelle, Dvořák’s Mass in D, Handel's Messiah, Vivaldi's Gloria, and Haydn's Stabat Mater.
Along with her passion for classical and operatic singing, Beth has a strong love of both jazz and musical theatre. Having started as a jazz singer, Beth performed as a member of the Leeds Youth Jazz Rock Orchestra in numerous venues across Leeds including Leeds Town Hall. She has also been involved in several musicals taking the parts of Madame Thenardier in Les Miserables, Miss Sherman in Fame, Grace Farrell in Annie and Bet in Oliver! In November 2013 she took to the stage, creating the role of Medusa in new musical Fleeced by Matthew Pauley and James Golborn, alongside fellow RWCMD students.
Beth is generously supported by the Lionel Anthony Charitable Trust, Chris and Lorna Bown, Revd. John Wates, Chris Ball, the Josephine Baker Trust and Commander and the late Mrs Vigrass.
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