Soprano Scholarship - Holy Trinity Church, Sloane Square (2019)

Trebarwith Scholarship (2015)

Highly Commended: Chissell Stephens Lieder Prize - RAM (2022)

Semi-finalist: Somerset Song Prize (2022)

Winner (joint) Isabel Jay Memorial Prize - RAM (2020)

Semi-finalist: Mozart Competition (2019)

Runner Up: Isobel Buchanan Award (inaugural) - Bath Opera (2018)

Winner: John Miller, Young Recitalist Prize (2018)

Winner: Opera Unmasked, Aria Prize (2018)

‘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)

London-born Soprano, Elinor Popham is a highly versatile singer with a natural sensitivity and musicality which flows through her work, both in opera and in concert.
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Having read English Literature at Warwick University, Elinor was awarded Distinction in her Masters from the Royal Academy of Music. She now combines her love of Literature and Singing through writing libretti for operatic and song projects, all in the hope of bringing new audiences to opera and creating strong and nuanced writing, particularly for female characters. A firm advocate for inclusivity in opera, Elinor regularly works for the Learning & Participation department of the Royal Opera House (alongside ushering!)
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Elinor was a Choral Scholar at Sloane Square Choral Society, and her concert experience includes The Messiah (Hampton Singers) Fauré Requiem (SSCS), Tippett's Child of our Time and the world premier of new works by conductor/composer, Paul McGrath, both in the UK and in Italy. Previous roles include Lucy (cover), The Telephone (Opera on the Move), Geraldine, A Hand of Bridge (Grimebourne), Rosalinda, Die Fledermaus and the Countess, The Marriage of Figaro (Opera Warwick).
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She was awarded the John Miller Young Recitalist and Opera Unmasked Prize, named runner-up in the inaugural Isobel Buchanan Award, and was one of the youngest semi-finalists of the 2019 National Mozart Competition. She was named joint-winner of the Isabel Jay Opera Prize in her first term at college. She has sung the roles of Violetta, Mme Herz and Louise in scenes and was generously supported by the John Clemence Trust.

. She was awarded the John Miller Young Recitalist and Opera Unmasked Prize, named runner-up in the inaugural Isobel Buchanan Award and was a semi-finalist of the 2019 National Mozart Competition. Whilst at college, she was also Highly Commended in the Chissell Stephens Lieder Prize and made the semi-final of The Somerset Song Prize

She has been invited to take part in workshops with BYO, and to work with Graham Johnson, Hartmut Höll and Roderick Williams in masterclasses. She has given recitals at The Grange Festival, the Academy, and at Bob Boas, and Lauderdale House on the invitation of Lieder Professor, Richard Stokes.

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