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Photo: @PicturesByPatterson

Oryna Veselovska

Primary Skill:

Mezzo-Soprano

Nationality:

Ukrainian

Country:

United Kingdom

Languages (fluent):

English

Opera

1st Alto Chorus
La Boheme (Puccini)
Philharmonia Chorus (Nouveau Siècle, Lille)
2024
Charlotte
Werther: Act 1, Duet “Il faut nous séparer“ (Massenet)
Royal Academy of Music
2024
Sesto
La Clemenza di Tito: Scena 3 & №14 (Mozart)
Royal Academy of Music
2024
Lucretia
Rape of Lucretia: Act 1, Scene 2 (Britten)
Royal Academy of Music
2023
The Third Lady
Die Zauberflöte: Act 1, №5 (Mozart)
Royal Academy of Music
2023
Charlotte
Wether: Act 3 (Massenet)
Royal Academy of Music
2023

Oratorio/Concerts

1st Alto Soloist
Messiah (Handel)
Sudbury Choral Society
2024

Choral

1st Alto Chorus
Messa da Requiem (Verdi)
Philharmonia Chorus
2023

Covered Covered & Performed Scenes Premiere of New Work Concert COVID-cancelled

Charlotte in Werther

Charlotte in Werther

Charlotte in Werther (Massenet)

Charlotte in Werther (Sophie - Franziska Gross)

Charlotte in Werther (Sophie - Franziska Gross)

Charlotte in Werther (Sophie - Franziska Gross)

Charlotte in Werther (Sophie - Franziska Gross)

Charlotte in Werther (Sophie - Franziska Gross)

Charlotte in Werther (Sophie - Franziska Gross)

Help Musicians Postgraduate Award (2023)

Wayne Sleep Foundation Award (2023)

Master of Arts in Performance (Voice)
Royal Academy of Music
2022–2024

Oryna Veselovska is a London based Ukrainian mezzo-soprano currently studying towards a Master’s degree at the Royal Academy of Music under a tutelage of Kate Paterson and Jonathan Papp.
Oryna has completed her Bachelor’s degree in opera singing with Honours at the Ukrainian National Academy of Music. During her Bachelor’s program she studied and performed such roles as La Badessa from “Suor Angelica” by Puccini, Flora from “Traviata” by Verdi, Annio from “La clemenza di Tito” by Mozart.
While studying at the Royal Academy of Music, Oryna enjoyed performing various roles in the Royal Academy’s Opera Scenes, working with conductors Christopher White and Peter Robinson and directors David Antrobus, Eleanor Burke and Victoria Newlyn. These roles include Charlotte (Werther), Lucretia (Rape of Lucretia), Third Lady (Die Zauberflöte), Sesto (La Clemenza di Tito). In March 2023 Oryna took part in Mascarade Opera Studio Talent Pathway Training Week, where she was working with such coaches as Julia Lynch, Jonathan Papp, Dearbhla Collins, Siegfried Gohritz and Ralph Strehle.
Oryna is particularly interested in contemporary music and collaboration with emerging composers. In November 2022 Oryna participated in performance of “What leaf? What mushroom?” for eight voices and detachable electronics by Hani Elias. In January 2023 she became a part of the Academy Improvisers Ensemble, exploring possibilities of improvisation and extended techniques in classical singing. In May 2023 she performed “Dancing in the Void” for mezzo-soprano, electronics and projection by Archie John, written specifically for Oryna and a Sri Lankan animator Irushi Tennakoon.
In May 2023 Oryna became the Member of the Philharmonia Chorus under the Philharmonia Chorus Student Scheme. The most recent engagements with the Chorus include Verdi’s Messa da Requiem under the baton of Santtu-Matias Rouvali in Royal Festival Hall, London in September 2023. In April 2024 Oryna sang alto solo in Handel’s Messiah with Sudbury Choral Society, conducted by John Chillingworth.
Oryna is determined to perform and promote music written by Ukrainian composers. She enjoyed performing Ukrainian art song in a concert of Ukrainian classical music “Music Will Live” in January 2023, as well as being part of the concert “Sounds of Ukraine” in November 2023. In March 2023 together with conductor Max Levytsky and composer Alisa Zaika she co-organized the Ukrainian choral music benefit concert “Taras Shevchenko in Song”, presenting choral works by Ukrainian composers based on texts of a famous Ukrainian poet Taras Shevchenko as a mezzo-soprano soloist and a member of choir.
. Oryna is immensely grateful for the support of the Josephine Baker Trust, Help Musicians Postgraduate Award, Wayne Sleep Foundation Award and the Royal Academy of Music.

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