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Elinor Popham

Voice Type:

Soprano

Nationality:

British

Country:

United Kingdom

Languages (fluent):

English

Opera

Blanche de la Force
Dialogue des Carmelites (Poulenc)
Morley Opera, Bridewell theatre
2018
Lauretta
Gianni Schicchi (Puccini)
Vox Integra
2018
Fiordiligi
Così fan Tutte (Mozart)
Vox Integra
2018
Elise
Louise (Charpentier)
Birley Centre, Eastbourne - Opera Coast
2017
Countess
The Marriage of Figaro (Mozart)
Warwick Art's Centre - Opera Warwick
2016
Street Singer / Chorus
La Rondine (Puccini)
Birley Centre, Eastbourne - Opera Coast
2016
Ballad Singer / Chorus
The Threepenny Opera (Weill)
Warwick Art's Centre - Opera Warwick
2016
Hero
Beatrice et Benedict (Berlioz)
Birley Centre, Eastbourne - AIMS
2016
Mercedes
Carmen (Bizet)
Warwick Art's Centre - Opera Warwick
2015
Arminda
La Finta Giardinera (Mozart)
AIMS
2014
1st Soprano Chorus
Dido and Aeneas (Purcell)
St.Swithun's
2009

Operetta/G&S

Rosalinda
Die Fledermaus (Strauss, J)
Warwick Art's Centre - Opera Warwick
2017
Valencienne
The Merry Widow (Lehár)
Warwick Art's Centre - Opera Warwick
2015
1st soprano Chorus
The Merry Widow (Lehár)
Winchester Theatre Royal -Winchester Opera Society
2012

Musical Theatre

Hera (Jazz Club Singer)
Good Business - premier (Chris Poon)
MTW (Musical Theatre Warwick)
2016
Maria
West Side Story (Bernstein)
Birley Centre - AIMS
2016
Lucinda
Into the Woods (Sondheim)
Birley Centre - AIMS
2015

Oratorio/Concerts

Featured Soprano Soloist and chorus
Stabat Mater (Pergolesi)
Gaudeamus (independent)
2017
Featured Soprano Soloist
Beyond Your Elsewhere (Paul McGrath)
Warwick At's Centre - Butterworth Hall
2017
1st Soprano Soloist and Chorus.
Child of our Time (Tippett)
UWCC, Touring/Warwick Art's Centre
2016
Featured Soprano Soloist
Evidence Frontiers - premier (Paul McGrath)
Naples - Evidence Frontiers
2015
Featured Soprano Soloist
Christmas Oratorio (Bach)
UWCC
2015

Choral

Soprano, semi chorus and chorus
Belshazzar (Walton)
Warwick At's Centre - Butterworth Hall
2017
1st Soprano
Chichester Psalms (Bernstein)
UWCC
2016
1st Soprano
Verdi Requiem (Verdi)
Warwick Art's Centre - Warwick Chorus
2015
1st Soprano
Beethoven 9th Symphony (Beethoven)
Warwick Chorus, Warsaw Philharmonic Orchestra
2015
1st Soprano
Song of Songs (Patrick Hawes)
Hampshire Consort Choir (conducted Patrick Hawes)
2014
1st Soprano
On Christmas Night (Bob Chilcott)
Hampshire Consort Choir (conducted Bob Chilcott)
2013
1st Soprano
Messiah (Handel)
Winchester Cathedral - HCC -Tom Seligman
2013

Theatre

Music Director
Wuthering Heights (Elinor Popham and Warwick World Music)
Warwick Art's Centre - WUDS
2016

Covered Covered & Performed Scenes Premiere of New Work Concert

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Trebarwith Scholarship (2015)

Competitions

AESS, English Song Prize (North London Festival) (2018)

John Miller, Young Recitalist Prize (2018)

Opera unmasked, Aria Prize: 2018 (2018)

Runner up- Isobel Buchanan Award (inaugural) - Bath Opera (2018)

Semi-finalist: Mozart Competition (2018)

‘…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)

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