“As Olga, mezzo-soprano Emily Hodkinson made a real impression (I see Hodkinson has also sung Larina in this opera for OHP in 2022). Hodkinson’s voice is full, clear and strong; notably, she shone just as much in duet with Tatyana early on as she did in her own aria, an ensemble singer as well as soloist. I would very much like to hear more of her”. - Seen and Heard International (2025)

“Emily Hodkinson makes an effervescent Olga. Although singing at the lower end of her mezzo register, her voice has a light quicksilver timbre.” - Mark Aspen (2025)

“Mezzo Emily Hodkinson was the finest of the singers, with an appealing slightly smoky timbre.” - Mark Aspen (2025)

“Emily Hodkinson was tall, gawky and irresistible as Cherubino, giving the hormonal teenager’s two arias impressive urgency.” - Opera (2024)

Emily Hodkinson steps out of the committed eight voice chorus to provide a memorable cameo as that rare thing, a politician with a conscience. (Opera Magazine) (2023)

It is amazing what difference a wig and cap can make. Having met Emily Hodkinson at a Young Artists event earlier in the year I was very struck by how different her Madame Larina was from the real Emily. This Larina was very poised and centred, cool almost and she had a Jane Austen-esque sense of floating through life unaware of the little dramas eddying round her. - Planet Hugill (2022)

Did the Festival Chorus capture the spirit of the work? Undoubtedly. There was an almost palpable sense of commitment so that at climazes, joined by the resplendent orchestra and the noble singing of mezzo Emily Hodkinson, the effect was thrilling. - William Ruff, Nottingham Evening Post (2019)

Rich-voiced mezzo-soprano Emily Hodkinson pushed the repetition-laden narrative along at a cracking pace.(Leeds Lieder Festival, Composers and Poets Showcase) - Richard Wilcocks, Write Out Loud (2017)

The four soloists (Ruth Provost, Emily Hodkinson, Adam Torrance and Geoff Williams) provided much elegantly beautiful singing. - William Ruff, Nottingham Evening Post (2017)

Wendy Goodson and Emily Hodkinson were clear and musicianly in their important contrasting arias. – Robert Gammon, York Press (2016)

Emily Hodkinson was particularly captivating in this role and her connection to the piece was evident to the audience throughout. (La Pucelle, April 2015) – Olivia Moss, Unknown Magazine (2015)

The amatory frustrations of four young Muscovite couples are excellently varied. Foremost among them are the nicely-balanced Sasha and Masha of Chris Murphy and Emily Hodkinson. (Paradise Moscow, Oct 2015) – Martin Dreyer, York Press (2015)

The young soloists sang with great commitment and conviction in a work that, although well- known and frequently performed, is not easy. (Nidderdale Messiah, Nov 2015) – Henry Pankhurst, Harrogate Advertiser (2015)

Nottingham-born mezzo-soprano Emily Hodkinson is a recent graduate of the Alexander Gibson Opera School at the Royal Conservatoire of Scotland, where she was a recipient of a Sybil Tutton Opera Award, the Ena Mitchell Scholarship and the Ulrike Wilson Scholarship.

2024 was a busy year of firsts for Emily, she made her Glyndebourne solo debut as Sylviana in The Merry Widow, directed by Cal McCrystal and conducted by John Wilson. It was broadcast on Christmas Day on BBC Four and is available on BBC iPlayer.
In December, Emily made her debut with The Hallé as the soloist for their Christmas Concert. She performed her first Cherubino in Le nozze di Figaro with Saffron Opera Group in February, in which she was described as 'irresistible' by Opera Magazine. Emily sang her first Angel in The Dream of Gerontius with the Nottingham Harmonic Choir, and her first Mahler Symphony No. 4 with Kew Sinfonia, both in the autumn.
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2025 see’s Emily touring Eugene Onegin as Olga, directed by Dominic Dromgoole, for Wild Arts, What Dreams May Come and The Vanishing Forest with English Touring Opera, and cover Romeo in I Capuleti e i Montecchi, also for English Touring Opera. She premieres John Joubert’s Jane Eyre at Grimeborn Opera, along with Testament for Green Opera.
Concert work in 2025 includes the Angel in Elgar’s The Dream of Gerontius, Mendelssohn’s Elijah and Handel’s Messiah.
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She was an Opera Holland Park Young Artist for 2022, singing Madame Larina in the Young Artist performances of Eugene Onegin. In 2023, she premiered Nobody/Somebody for Northern Ireland Opera, covered the roles of Nerone and Ottavia in The Coronation of Poppea with English Touring Opera, and sang in the Glyndebourne chorus for their Summer and Autumn seasons.

She was the winner of the Rodney Gibson Early Music Prize at the 2021 Patricia Routledge National English Song Competition, and was a Selected Artist for Making Music UK. She was the winner of the Liz Chant Bursary Competition and the John & Barbara Beaumont Bursary Competition.
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Emily is a keen concert soloist and recital giver, with recent engagements including a concert with the Hallé, Elgar’s The Dream of Gerontius for both Nottingham Harmonic Choir and Newbury Choral Society, Elgar's Sea Pictures at the Royal Concert Hall Nottingham in a pre-concert recital before the BBC Philharmonic, Mendelssohn’s Elijah for Nottingham Bach Choir, Rossini's Petite Messe Solonnelle with York Musical Society; Manor Opera’s Gala in the Garden, Beethoven’s Mass in C with London Oriana Choir, Bach's Cantata's with Glasgow Bach Cantata Project, Elgar’s Sea Pictures with Watford Youth Sinfonia and Elgar’s The Music Makers with Nottingham Festival Chorus.​
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Emily’s operatic roles include Sylviana The Merry Widow (Glyndebourne), Cherubino Le nozze di Figaro (Saffron Opera), Romeo I Capuleti e i Montecchi (English Touring Opera), Nerone and Ottavia L’incoronazione di Poppea (English Touring Opera) Olga and Madame Larina Eugene Onegin (Wild Arts & Opera Holland Park Young Artist), Female Politican Nobody/Somebody (Northern Ireland Opera), Nancy Albert Herring (New Palace Opera), Minskwoman Flight, Jenny Die Dreigroschenoper (Royal Conservatoire of Scotland), Spirit Dido & Aeneas (Ryedale Festival); Wellgunde Das Rheingold (Edinburgh Players Opera Group); Siegrune Die Walküre (Weekend Opera Projects); Sara Tobias and the Angel (Streetwise Opera); Nancy Albert Herring and Female Chorus The Rape of Lucretia (Aspect Opera), Masha Paradise Moscow, La tasse Chinoise and L’écureuil L’enfant et les Sortilèges, and Sorceress Dido & Aeneas (University of York).
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Chorus work includes the Glyndebourne Chorus, Wagner’s Der fliegende Holländer at the 2022 Grange Park Festival, Wagner’s Götterdämmerung at the 2019 Edinburgh International Festival, and Purcell’s Dido & Aeneas at the 2019 Ryedale Festival.
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Emily is an experienced consort and choral singer, having sung with groups such as Britten Sinfonia Voices, the Dunedin Consort, the Carice Singers and Echo. She was a Fellow of the National Youth Choirs of Great Britain, and a member of Genesis Sixteen, The Sixteen’s prestigious training programme led by Harry Christophers and Eamonn Dougan. In 2018 she had the honour of being the first Female Alto to sing with the Men and Boys Choir at Southwell Minster, a landmark moment in the Minsters 900+ year history.

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