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Photo: Ben McKee

Clare McCaldin

Voice Type:

Mezzo-Soprano

Nationality:

British

Country:

United Kingdom

Languages (fluent):

English, French

Opera

Apprentice
Die Meistersinger (Wagner)
Royal Opera
2017
Hannah / Mrs Fairfax
Jane Eyre (Joubert)
English Symphony Orchestra
2016
Meg Page
Falstaff (Verdi)
Iford Arts
2012
Miss Tina/ Italian Servant
The Aspern Papers (Hurd)
Nova Music Opera
2012
Fox
The Cunning Little Vixen (Janáček)
Ryedale Festival Opera
2011
Mezzo Actor
A Night at the Chinese Opera (Weir)
Scottish Opera
2009
Orsze
Hary Janos (Kodaly)
Ryedale Festival Opera
2009

Contemporary Opera

Mary 1
Mary's Hand (Bussey)
Independent
2018
Vivienne Eliot
Vivienne (McNeff)
Independent
2013
The Stardust Seller
The Gentle Giant (McNeff)
Royal Opera
2008

Musical Theatre

Mezzo Actor
Pinocchio (Ward)
Royal Opera
2007
Policeman, Weasel, Duck
The Wind in the Willows (Ward)
Royal Opera
2003

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"At the centre of it all, holding the stage with girlish, flickering fingers and a pitiless thrust of the chin is mezzo-soprano Clare McCaldin… an outstanding singing-actress". ★ ★ ★ ★ ★ The Independent {https://www.independent.co.uk/arts-entertainment/classical/reviews/tete-a-tete-festival-marys-hand-holy-cross-church-london-opera-review-a8478781.html} (2018)

"McCaldin is variously eye flashingly sexy, imperious, wistful, resigned and angry. And she maintains a remarkable level of energy given that this is effectively an 80 minute solo. Her voice includes some ruby red impassioned low notes and some fierce, sometimes hysterical, high ones. She manages the emotional contrasts with verve… Words and music complement each other seamlessly." Lark Reviews [http://www.larkreviews.co.uk/?p=4530] (2018)

"Written specially for the mezzo-soprano performing the role, Clare McCaldin, Mary’s part deftly moves between spoken word and sung passages. It’s a performance that’s somehow both handsomely relaxed and precision-sharp". Specs Blog [http://adrianspecs.blogspot.com/2018/08/holding-all-cards-marys-hand-at-holy.html] (2018)

"Clare McCaldin shows how she is able to shape and control her voice to draw so much from each song, following the subtle nuances of each text to deliver the most remarkable performances." The Classical Reviewer on Notes from the Asylum [http://theclassicalreviewer.blogspot.com/2016/06/mezzo-soprano-clare-mccaldin-brings.html] (2016)

"Richly sung, richly imaginative" ★ ★ ★ ★ ☆ BBC Music Magazine reviewing Notes from the Asylum [August print edition] (2016)

"All is delivered by catty, horny McCaldin, all with a sheen of barmy. It’s a far better performance than we’re entitled to from someone who can also sing." ★ ★ ★ ★ ★ The Evening Standard [https://www.standard.co.uk/go/london/music/viviennefossils-and-monsters-riverside-studios-opera-review-8753662.html] (2013)

Clare McCaldin is a lyric mezzo-soprano whose presence in performance marks her out as a communicator of outstanding quality on the dramatic stage and concert platform. She is a powerful creative influence, as an interpreter of existing repertoire or commissioning and premiering new music.

She enjoys a busy concert schedule, working with pianists such as Libby Burgess, Iain Burnside, Andrew West and Paul Turner. Committed to chamber music collaboration of all kinds, Clare’s work in this area ranges from commissions with the Brodsky Quartet and Walton’s Facade, to baroque works with La Réjouissance and the Le Page Ensemble.

Clare’s discography includes plenty of mezzo-soprano repertoire written especially for her, notably Stephen McNeff’s Madrigali dell’Estate and Vivienne, as well as works by Hugh Wood and Ned Rorem. She has also recorded the role of Miss Tina in Michael Hurd’s The Aspern Papers and Mrs Fairfax/Hannah in John Joubert’s Jane Eyre.

Clare is particularly committed to the promotion and performance of contemporary vocal music and through her company McCaldin Arts continues to commission and develop new work. With the pianist Libby Burgess, she has premiered and recorded works by Stephen McNeff. Clare has also devised the narrated entertainments Haydn’s London Ladies and Over My Shoulder, which contextualise existing repertoire in new ways.

Through McCaldin Arts Clare has created three solo shows. Two of these feature music by Stephen McNeff: A Voice of One Delight and the critically-acclaimed Vivienne, (5 stars in the Evening Standard). Her latest one-woman show, Mary’s Hand, examines the reputation and life of Queen Mary I, and also attracted excellent reviews, including 5 stars from the Independent.

Clare was born in Liverpool and studied Modern Languages and History of Art while a choral scholar at Clare College, Cambridge, but began her professional life in advertising and arts administration before becoming a professional singer.

In concert Clare has sung with the Academy of Ancient Music, Philharmonia Orchestra, Die Kölner Akademie, the Northern Sinfonia, the choir of King’s College, The Three Choirs Festival, Barokksolistene, the Orchestra of the Golden Age, English Symphony Orchestra and the Northern Chamber Orchestra. She made her solo debut at the 2012 BBC Proms in Debussy’s Martyrdom of St Sebastian with the BBCSO/Knussen, which also opened the 2014 Edinburgh International Festival.

In operatic repertoire, Clare has sung Fox (The Cunning Little Vixen), Meg Page (Falstaff), Oreste (La Belle Helene), Dorabella Örsze (Hary Janos), as well as Dido, Dorabella, Second Lady, Orlovsky, Siebel, Hansel, Véronique (Le Docteur Miracle), Flora and Mrs Peacham. Her contemporary repertoire roles include the Stardust Seller (Stephen McNeff’s The Gentle Giant), the Mezzo Actor (Judith Weir’s A Night at the Chinese Opera) and Mezzo Cautioner (Errollyn Wallen’s Cautionary Tales), as well as works in development at ROH, Opera North, WNO and Aldeburgh Music.

Among her broader repertoire are movement-based projects including William Tuckett’s The Wind in the Willows and Pinocchio, The Silver Swan with the Clod Ensemble and a devised project through McCaldin Arts supported by Rambert. She has also collaborated with Dr Toby Young at the Oxford Research Centre in the Humanities and at the Edward Said Business School.

Contact Clare McCaldin

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