'Frances Gregory's Frauenliebe, Opus 60, partnered sensitively by Richard Gowers, impressed at many levels: characterisation, personality, style. In particular, through the nine songs, her subtly changing inflections and body language conveyed a believable thirty-minute journey from girlhood and obsession to bereavement and old age. There was real beauty and artistry in this performance ... and a wealth of musical roads to share: 'Du Ring an meinem Finger' stays with me, a little dream of fragrant perfection.' - Classical Source (2019)

'...the excellent Frances gregory' - The Evening Standard (2018)

'...the Sycorax of Frances Gregory, whose ample richly toned voice gives pathos as well edge to her several arias.' - Bachtrack (2018)

'As Egeo, Frances Gregory used her firm, rich sound impressively - always responsive and expressive - to convey regality and indignation in equal measure...' - Opera Today (2018)

'Frances Gregory as Egeo revealed an extremely sumptuous mezzo-soprano...' - Music OMH (2018)

'Frances Gregory is dependable as his jealous wife Juno, compared with her somewhat squally accomplice of Emilie Cavallo's Iris, though both achieve notable vocal agility, making them natural Handelian singers (both made fine contributions to the concert performance of Teseo at this year's London handel Festival).' - Classical Source (2018)

'Frances Gregory maintained cool dignity throughout, providing a point of dramatic steadiness...' - Classical Source (2018)

'Frances Gregory offered a Juno not to be trifled with, who yet certainly maintained and projected feelings of her own.' - Boulezian (2018)

'Frances Gregory's rich mezzo evinced Sycorax's regal righteousness, but she also conveyed the sorceress' pain with bittersweet poignancy.' - Opera Magazine (2018)

'Gregory is fearless and commanding in an incredibly difficult role' - The Guardian (2018)

'Here Egeo was sung by mezzo-soprano Frances Gregory, who has a lovely, well-modulated voice and finely musical technique.' - Planet Hugill (2018)

'The stand-out turn though, is mezzo-soprano Frances Gregory as the wronged witch Sycorax. Hers is the performance that draws us in.' - The Times (2018)

Praised for her “idiomatic and stylish singing” (The Telegraph) British mezzo-soprano Frances Gregory is a recent graduate of Royal Academy Opera and a Rising Star of the Orchestra of the Age of Enlightenment for 23/25. She begins the 24/25 season as Alcandro L’Olimpiade with Vache Baroque and makes her debut as Cherubino Le Nozze di Figaro with The Mozartists at Cadogan Hall and Teatro Communale, Sicily, conducted by Ian Page. Further plans include The Angel in Elgar’s The Dream of Gerontius at Truro Cathedral and also in Oxford with The English Sinfonia, conducted by Jonathon Cole-Swinard, Messiah with the Ulster Consort in Enniskillen and Belfast, Mary L’enfance du Christ in Wroclaw with the NFM Philharmonic conducted by Paul McCreesh, 2nd Harlot in Handel’s Solomon with the Gabrieli Consort at Inner Temple Hall, l’Opéra Royal de Versailles and the Palau de la Musica Valencia, Geneviève (cover) Pelléas et Melisande for Longborough Festival Opera and Elgar’s Sea Pictures at the Queen Elizabeth Hall, Southbank Centre with the OAE, conducted by Dinis Souza. Further engagements are to be announced.

During 2023 / 2024 she made her debut with The English Concert as Arnalta / Nutrice / Famigliare 1 L’incoronazione di Poppea at the Palau de la Musica, Barcelona and Auditorio Nacional, Madrid; with The Gabrieli Consort in J. S. Bach’s B Minor Mass at the KKL Lucerne; and at The Grange Festival as Arnalta L’incoronazione di Poppea with La Nuova Musica. In Summer 2024, she created the role of Ellie Gifford in Paul Carr’s Under the Greenwood Tree for Dorset Opera Festival. Concert work included Mozart Requiem at St Endellion Festival, Rossini Petite Messe Solennelle, Dido Dido and Aeneas with Eboracum Baroque and Purcell Songs with Bjarte Eike at the Royal Academy of Music.

She began the 22/23 season at Opera North as Apsara and La Messaggera (cover) in Orpheus, an innovative re-imagining of Monteverdi’s L’Orfeo, musically directed by Laurence Cummings and Jasdeep Singh Degun. Further engagements for 22/23 included Elgar’s The Music Makers for Buxton Musical Society, Flosshilde (cover) in a new production of The Rhinegold for English National Opera, The Angel in Elgar’s The Dream of Gerontius for the St Endellion Easter Festival and a critically acclaimed return to Longborough Festival Opera as La Messaggera and Proserpina L’Orfeo. She was also a semi-finalist in the 2023 International Handel Singing Competition.

Recently, she created the role of Laura in the world premiere of Tom Coult’s Violet at the opening of the 2022 Aldeburgh Festival, with further performances at the Hackney Empire and Buxton International Festival. The production was a collaboration between Britten Pears Arts and Music Theatre Wales, in association with the Royal Opera, and was subsequently nominated for an Independent Opera and UK Achievement in Theatre award. Other recent roles include Nancy in Britten’s Albert Herring for Clonter Opera and Claudio in Handel’s Silla for Northern Opera Group/Leeds Opera Festival. Previously for MTW she covered and performed the mezzo-soprano role in Philip Venables’ European premiere of Denis & Katya, a co-production with Opera Philadelphia.

During 20/21 she was a studio artist with the Opéra National de Lyon and an emerging artist at Longborough Festival Opera, where roles included Maman, La Tasse Chinoise, and La Libellule L’Enfant et les sortilèges and the Fox and Dog The Cunning Little Vixen. She is a former Alvarez Young Artist at Garsington Opera where she covered and performed Flamel in Fantasio by Offenbach, and was one of Laurence Cummings’ Handel House Talents for 19-21. For her performance as Sycorax in Jeremy Sams’ pastiche The Enchanted Island with British Youth Opera in 2018, she was awarded the Dame Hilda Brackett Award from Sadler’s Wells.

Further operatic performances comprise Minskwoman Flight, Juno Semele, Véronique Le Docteur Miracle, Laura Iolanta (all with Royal Academy Opera), Egeo Teseo (London Handel Festival), Idamante Idomeneo (2018 Amersham Festival of Music), and Hansel Hansel and Gretel, directed by Sarah Walker CBE. Chorus work includes the 2021 Glyndebourne Tour, 2017 Festival d’Aix-en-Provence and the 2016 Glyndebourne Festival.

Whilst studying she was a Karaviotis scholar, semi-finalist in the National Mozart Singing Competition, winner of the 2018 RAM Club Prize and the Tom Hammond Opera Prize, a RAM/Kohn Foundation Bach cantata soloist, and a member of the Academy’s prestigious Song Circle. Prior to joining RAO she received a Distinction in her Masters from the RAM, as well as a DipRAM for an outstanding final recital. Notable engagements whilst studying included Bach’s St. Matthew Passion conducted by Trevor Pinnock as part of the RAM Bach: the European series, her Cadogan Hall debut and her Wigmore Hall recital debut, promoting the Balladen of Carl Loewe, for Song Circle.

She is represented by James Black at James Black Management.