‘As Geraldine, Ellie Popham’s lament on loneliness is especially poignant and vocally sophisticated.’ - Edward Bhesania , The Stage - https://www.thestage.co.uk/reviews/2019/a-hand-of-bridge-sands-of-time-le-66-review-at-arcola-theatre-london-three-operas-of-chance/ (2019)

‘Popham’s controlled soprano is surprisingly heart-breaking considering we have known her character all of two minutes.’ - Miriam Sallon, The Reviews Hub - https://www.thereviewshub.com/a-hand-of-bridge-the-sands-of-time-le-66-arcola-london/ (2019)

‘…the quality of support to the voice and the attractiveness of the tone became most evident. The same might be said for Ellie Popham’s feisty Rosalinda. Her amusing dalliance with singing teacher Alfred in Act 1… confirmed the strength of her voice, but it was the Hungarian csárdás delivered in her masked disguise at the ball ... where the full beauty of her tone quality shone through. She was Warwick Opera’s Countess in their recent Figaro, as you could hear why…’ - http://seenandheard-international.com/2017/01/die-fledermaus-in-coventry/#more-68772 (2017)

'Ellie Popham sparkles as Rosalinda, especially her long aria in the second act as the ‘Hungarian countess’’' - https://theboar.org/2017/01/batty-but-brilliant-die-fledermaus-review/ (2017)

'Meanwhile Ellie Popham showed a nice, wry wit that helped enliven an already bizarrely funny Act I ... and when it came to her set piece as the ‘Hungarian countess’ who discredits errant husband Eisenstein at the palace ball, she really turned it on. The tone of her sound in Strauss’ parody of a csárdás gained a spectacular warmth, that beamed out amid the almost surreal spotlighting (James Fitzpatrick) which picked her out so movingly as she held the ball guests spellbound. Popham, always abetted by conductor McGrath, also lent character to the set piece ensembles – her lulling Act 1 duet with Alfred, for instance, and the extended Act 3 trio with Eisenstein and Alfred; plus between those, the combative duet with Eisenstein at the ball.’ - Roderick Dunnett - A View from Behind the arras (2017)

"We were very lucky indeed to secure Ellie to sing at our charity event. The moment she started to sing she had the audience’s rapt attention. Her repertoire was a mix of classical arias and jazz standards and her delivery of such a wide range of material was spellbinding. She has a truly amazing voice and a personality to match. I have already rebooked her." - Francis Howard (2016)

‘the true stars of the show were Panzieri and Ellie Popham as the Count and Countess – their vocal power and intensity were truly showcased in this production, and their respective solos in Act III were sincere, heartfelt and moving.’ - https://theboar.org/2016/01/65855/ (2016)

.British / Irish Soprano, Elinor Popham, trained at the Royal Academy of Music with Nuccia Focile, generously supported by the John Clemence & Sophie’s Silver Lining Funds. She there won the Isabel Jay Opera Prize and was invited by Lieder Professor, Richard Stokes, to perform a recital at Bob Boas House - more recently, she gave a solo recital with esteemed critic of Wagnerian repertoire, Barry Millington in London. Elinor now works regularly with Dominic Wheeler (GSMD) and has also learned greatly from performances and masterclasses with David Gowland, Kate Royal, Iain Burnside, Anna Tilbrook, Graham Johnson, Hartmut Höll and Lucy Crowe. Last summer, she was a scholar at the inaugural International Tosti Academy, working particularly with Matthew Rose, Jennifer Larmoor, Adrian Kelly and John Fisher, performing in scenes as Donna Anna and Fiordiligi for esteemed guests, including Dame Kiri Te Kanawa.

Competition successes include the John Miller Young Recitalist & Opera Unmasked Prizes and the runner-up award in the inaugural Isobel Buchanan Award - she was recently selected to compete at the Concorso Lirico Internazionale Portofino. As a soloist, she has performed repertoire ranging from Handel’s Messiah, Haydn’s Creation and the Mozart and Fauré Requiem, to Tippett’s Child of Our Time. Operatic highlights include Pamina (St.Albans Opera), Najade (Uncovered Opera), Lucia & Micaela (Opera Integra), Geraldine (Grimebourne), Rosalinda, Valencienne & Countess (Opera Warwick). She recently covered Lucy (The Telephone - Opera on the Move), Violetta (Instant Opera) & Musetta (Aylesbury Opera). This season, she made her debut as Königin at the Teatru Manoel in Malta, as well as Gretel for Uncovered Opera in London, a role she will renew next season also. Elinor is a strong advocate for inclusivity in opera, often working in conjunction with the Royal Opera House to encourage new audiences through open events. She also indulges in performing Jazz, cabaret and musical theatre, performing across London.

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