Biographies

Chad Vindin is a vocal coach at the Royal Academy of Music and a staff pianist at the Royal College of Music, and he performs regularly across the UK and internationally.

As a collaborative pianist he is the winner of the accompanist prize at the Royal Overseas League Competition, the Ludmilla Andrew Russian Song Accompanist Prize at the Royal Academy of Music, and the Maureen Lehane Vocal Awards Accompanist’s Prize at the Wigmore Hall.

Chad has worked extensively in opera for many years. He was a founding member of the Sydney Chamber Opera Company, and has worked as a répétiteur for the Grange Festival, Bury Court Opera, Bergen National Opera, and the Royal Opera House, London. 

Last year he was assistant conductor for the Grange Festival's production of Yeoman of the Guard, and upcoming engagements include a number of Garsington productions for the 2023 summer season.

He is a regular staff pianist at the Oxenfoord International Summer School for Singers and Accompanists with Malcolm Martineau, and he is an alumni of the Britten-Pears Young Artist Programme. As a chamber musician he has worked with ensembles including Manchester Collective, the Magnard Ensemble, and the Instante Collective.

During lockdown he recorded Zemlinsky's four-hand arrangement of Beethoven's opera Fidelio for the Solti studio concert series, alongside Joseph Havlat.

Scottish soprano, Isla MacEwan, recently completed a Master of Arts in Performance with distinction at the Royal Academy of Music where she studied on scholarship with Alex Ashworth, James Baillieu and Matthew Fletcher. Isla began her vocal training at the Royal Conservatoire of Scotland Junior Department before graduating with First Class Honours from the Royal Northern College of Music. Isla is a 2022 Associate Artist with Nevill Holt Opera. 

Isla is an accomplished oratorio singer and a Josephine Baker Trust Scholar. Most recently Isla has sung as a soloist in Bach's Johannes-Passion under Philippe Herreweghe as well as Händel's Messiah with the Manchester Camerata and Nevill Holt Opera. This summer Isla sang Händel’s Eternal Source of Light Divine with the BBC Concert Orchestra as part of Her Majesty’s Platinum Jubilee Celebrations.

Whilst studying at the Royal Academy, Isla was heavily involved in the prestigious Bach the European concert series, collaborating with Eamonn Dougan and Rachel Podger. Other solo oratorio repertoire includes Brahms Requiem, Mozart Requiem, Mozart Exsultate Jubilate, Fauré Requiem, Saint-Saëns Christmas Oratorio, Haydn The Creation, Vivaldi Gloria and Schubert Mass in G&C. 

Isla was the 2020 recipient of the Oratorio Prize at the David Clover Singing Competition.

On the opera stage, Isla has recently covered the role of Musetta with Nevill Holt Opera whilst singing in the chorus for their production of La Bohème. Solo roles include First and Second Witch Dido and Aeneas with Royal Academy Opera and Hurn Court Opera, Susanna and Barbarina The Marriage of Figaro with Flatpack Opera and Governess The Turn of the Screw with Leeds Youth Opera.

Chorus roles include Falstaff with the Liverpool Philharmonic Orchestra, L'elisir d’amore with West Green House Opera, Fidelio at the Edinburgh International Festival, The Merry Widow and Street Scene with the Royal Northern College of Music.

Opera scenes include Anne Truelove The Rake’s Progress, Sophie Der Rosenkavalier, Nanetta Falstaff, Marie La Fille du Régiment and Serpetta La finta giardiniera.

In recital, Isla has performed in the Royal Liverpool Philharmonic Recital Hall, Bradford Cathedral and Rekstensamlingene Recital Hall in Bergen,

Norway. In 2020, Isla won the English Song Prize at the David Clover Singing Competition and received Highly Commended in the Michael Head English Song Prize at the Royal Academy of Music. 

Isla is generously supported by the Baird Trust and the Nan Copeland Award.

John Upperton, Tenor www.johnupperton.com

is from Co Durham, read Music at Liverpool University as first study pianist and continued as postgraduate singer at RCM.  Principal appearances include ROH, ENO, Garsington and Birmingham Opera, the QEH and Purcell Room (Janáček’s Zápisník Zmizelého). He moved into heavier repertoire with Idomeneo, Tito, Pollione, Florestan, Edgardo, Enzo, the major Verdi, Puccini and Wagner dramatic tenor roles, Herodes, Bacchus, Apollo, Peter Grimes, Aschenbach and Walter (The Passenger).  Concert repertoire includes Liszt Tre Sonetti di Petrarca, Dvořák and Poulenc song cycles, Les nuits d'été, Dies Natalis, Duparc songs, Berg 7 Frühe Lieder and Wagner Wesendonk Lieder, Dvořák Stabat Mater, Elgar Dream of Gerontius, The Kingdom, Verdi Requiem, Janáček Glagolitic Mass, Lord's Prayer, Eternal Gospel, and Mahler Das Lied von der Erde. In November 2017 he returned to the straight stage as the narrator in Walton’s Henry V, A Shakespeare Scenario. 

​

Born in Riga, Latvia, and introduced to music since childhood, mezzo-soprano Baiba Rozenbaha studied at the Latvian Academy of Culture and the University of Latvia, where she graduated in cultural sciences and linguistics. Alongside her studies in high school and university, she pursued musical activities as a church musician within the parish, thus discovering a vast repertoire of sacred instrumental and vocal music. At the end of her university course, while working as a translator, she began training in singing, and – guided by her passion for early music – launched into learning the harpsichord at the Conservatory of Luxembourg. Currently a student at the Royal Conservatory of Mons, in Belgium, she regularly participates in projects ranging from early music to contemporary music as well as master classes abroad.

​

Graduated from the Conservatory of Santa Cecilia in Rome, Dee perfected her technique in Switzerland with the soprano Leontina Vaduva. She debuted in 2009 in Haydn's Stabat Mater as a soloist, singing with the Filarmonica Romana orchestra. She then performed in Rome and Lausanne in various concerts:

A tribute to Gershwin, Rossini's Soirees

Musicales and starred as Dorinda in Handel's

Orlando at Lausanne BCV Hall.

She played the main role of Mozart in W.A.M

Irony of Death, a monologue including piano and singing parts by Carlo Picchiotti and The Nun in Kafka's Trial adaptation, for whom she was nominated for best actress in a supporting role at Teatro La Cometa's contest.

Willing to expand her musical repertoire, she gained a Master of Arts in Musical Theatre at the Royal Central School of Speech and Drama.

She made her debut in musical theatre playing the role of Mileva in Love is not a Science, a show with original music by Joshua Rosenblum. Dee alternated singing and acting, she played the gentlewoman in Macbeth at

the London Theatre, she was featured as a refugee in Richard Eyre's King Lear

for BBC and as the mother in Look at your palm at the Oval House in 2019. In 2020 she was offered the role of Francesca Conti in Jack Stall Dead. Her latest role was in the second season of Dead man’s phone, a new live action videogame available on Netflix from December 2022. Dee also has QTS status and teaches singing, piano and music theory.

​

Natasha Elliott was recently seen as Florence in St Paul’s Opera’s production of Albert Herring. Other roles have included Die Zweiter Dienerin in Fulham Opera's Die Ägyptische Helena and played Hänsel in Fulham Opera’s orchestral study weekend of “Hänsel und Gretel” last December. Last year, she played "Flora" in Regents Opera's touring production of "La Traviata".  She has also played the role of Mercedes in Barefoot Opera’s tour of “Carmen” and Arnalta in their production of “L’Incoronazione di Poppea. This is her first performance with Uncovered Opera.

​

Lyric soprano Hazel Neighbour is a recent graduate of the Royal Academy of Music opera studio where she studied under the tutelage of renowned soprano Nuccia Focile. Her operatic highlights include Glyndebourne chorus and MIMÌ (Young Artist Cover) for Mid Wales Opera’s new production of La bohème. Her other operatic roles include MICAËLA in Bizet’s Carmen for DEBUT, OTTAVIA in incoronazione di Poppea for Grimeborn 2022 festival, GOVERNESS in Britten’s The Turn of the Screw for Dartington International Festival and BRIDE in Judith Weir’s The Vanishing Bridegroom for British Youth Opera. A passionate exponent of contemporary music, Hazel created the role of ATALYA in The Butt, adapted from the celebrated book by Will Self at the contemporary music festival Musiktheatertage Wien in Austria. Her forthcoming engagements include performing in the live rounds of the Montserrat Caballé International Singing Competition 2022 in Madrid and masterclasses with James Black.

​

Mezzo-soprano Milette Gillow recently graduated with distinction from the Preparatory Opera course at the Royal Academy of Music under tutelage of Alex Ashworth, following a Ph.D. in maths. Recent roles include Zlatohřbítek Příhody lišky Bystroušky - Janáček (HGO, November 2022) and Dido Dido and Aeneas - Purcell (HGO, May 2022), and while at the Academy she performed in scenes as Angelina La Cenerentola - Rossini, Rosina Il barbiere di Siviglia - Rossini, and Lucretia The Rape of Lucretia - Britten. An experienced oratorio soloist, Milette regularly performs in sacred works, with one of the highlights a Royal Academy Bach Soloists concert at the Wigmore Hall earlier this year. As a recitalist, she holds a particular fondness for 20th Century English Song. Recent performances include Elgar’s Sea Pictures with the Bridge Sinfonia and a 45-minute programme at the Wigmore Hall. A keen choral singer and conductor, Milette is a member of the Monteverdi Choir and has worked closely with the RAM Choral Conducting department over the past two years. She was one of eight NYCGB Fellows 2019/20.

 

Polish-born soprano Klaudia Magdon is a 2016 Trinity Laban graduate, where she completed her Master of Fine Arts degree in vocal performance. She studied piano from a young age but singing was always her passion. She also holds a computer science degree and has worked in financial news in London for a few years before embarking on full-time vocal studies – a dream she’s always had. Klaudia has performed in a number of opera productions and concerts, among others singing the roles of Magda in Puccini’s La Rondine (Mediterranean Opera Studio and Festival), the Countess in Le Nozze di Figaro (The Associated Studios), Regina in Mathis der Mahler (Morley Opera). Currently based in London Klaudia is also passionate about sharing her Polish musical heritage, in particular much under-performed works that deserve to be heard.

Originally from Denmark, Kristel graduated from the David Seligman Opera School at the Royal Welsh College of Music and Drama in 2022. She continues to study under the tutelage of renowned British mezzo-soprano Anne Mason. At opera school, she sang the roles of Rosalinde (Die Fledermaus), La Contessa (Le Nozze di Figaro), Miss Jessel (The Turn of the Screw) and Donna Elvira (Don Giovanni). In opera scenes, she has explored the roles of Agathe (Der Freischütz), Ariadne (Ariadne auf Naxos) and Ellen Orford (Peter Grimes).

​

British lyric soprano Alicia Mallace-Goulbourne has been praised as having a "sensitive legato" and "an outstanding sense of poise and command". Alicia made her role debut last year as Female Chorus/The Rape of Lucretia and most recently in August, performed the role of Dido/Dido & Aeneas at Queen’s House with Opera Asteria. Previously, she covered the role of Anna and was part of the small ensemble for Gothic Opera's La nonne sanglante, which won the Offie for Best Opera Production 2021. Alicia graduated with a Distinction MMus from Trinity Laban and during her studies was a semi-finalist of the prestigious Soloist Competition, reserve finalist of the MOCSA Young Welsh Singer of the Year and was selected twice to perform in concert with David Gowland and the ROH JPYA’s. Ensemble roles include Fulham Opera’s Die Meistersinger von Nürnberg, Hampstead Garden Opera’s La bohème & Savitri, Regent Opera’s La forza del destino and Scherzo Ensemble’s L’elisir d’amore. Up next, Alicia will be singing the role of Naiad in Ariadne auf Naxos with Uncovered Opera Company and Cis in Albert Herring with New Palace Opera.

​

​  

Anna Marmion, soprano, recently graduated with an MMus (distinction) from Trinity Laban Conservatoire, where she studied with Sarah Pring. Previously she studied Modern Languages at Durham University. She recently won the Roy Pleasance Competition for Voice and Orchestra and the Elisabeth Schumann Lieder Competition, and third prize at the first UK SongSlam.

Anna’s roles include Queen of the Night (Magic Flute), Miss Wordsworth (Albert Herring), Susanna (Marriage of Figaro), Lucy (Menotti’s The Telephone), Lucy/Fan (Musgrave’s A Christmas Carol), Lena (Sokolović’s Svadba) and Amahl’s Mother (Amahl and the Night Visitors), as well as Marie Antoinette (Corigliano’s The Ghosts of Versailles) and Sophie (Der Rosenkavalier) in Trinity Laban Opera Scenes. Anna loves performing contemporary classical music and enjoys working with composers, including recently originating a role in Josh Kaye’s opera Outlier at Tête-à-Tête.

On the concert stage, performance highlights include Strauss' Brentano Lieder with Cambridge Graduate Orchestra, the world premiere of Denyer's The Fish That Became The Sun at the Huddersfield Contemporary Music Festival, and the soprano solo in Mendelssohn's A Midsummer Night's Dream with the London Mozart Players.

Raised in the West Country, Clover’s formal musical training began when, at 16-years-old, she gained a place on the Royal College of Music Junior Department Programme, and was thereafter awarded the Concordia Foundation Prize for Singing. Subsequently, Clover completed her undergraduate degree at the Guildhall School of Music and Drama, graduating with a First Class Honours.

Clover is currently recipient of the Hannah Horowitz Award on the Master’s programme at the Royal Academy of Music. She studies at the Academy with Kate Paterson and Marcus van den Akker and is coached by Jonathan Papp and James Baillieu. This year, Clover became a Josephine Baker Trust Artist, competed in the finals of the prestigious Richard Lewis Award and was awarded the Charles Norman Prize. She is in the Academy Song Circle and has also had the privilege of performing in masterclasses with Ailish Tynan and Mary Bevan.

This season, Clover was a member of the If Opera ensemble and has formerly been an Emerging Artist at Nevill Holt Opera. Her recent operatic roles include Anna in Kurt Weill’s The Seven Deadly Sins (National Youth Ballet); Octavian in Der Rosenkavalier (RAM Scenes) Mystery & First Attendant in The Fairy Queen, directed by Laurence Cummings (RAM); Charlotte in Werther (RAM scenes); Rinaldo in Rinaldo (RAM scenes); Hansel, Hansel and Gretel (East Anglia Opera); Cherubino, Le Nozze di Figaro (Cardiff Opera); The Sorceress, Dido and Aeneas (Guildhall); Bradamante, Alcina (Guildhall scenes); Didone, L’Egisto (Guildhall scenes); Arnalta & Fortuna, L’incoronazione di Poppea (Guildhall); Abbie, Sane and Sound (Grimeborn / Arcola Theatre); Fairy Chorus, A Midsummer Night’s Dream (Guildhall). Operatic engagements that were cancelled / rescheduled due to the Coronavirus pandemic include Les Mamelles de Tirésias (BYO); La Traviata (Nevill Holt Opera).

Upcoming engagements include portraying:Concert successes include performing Říkadla for London Symphony Orchestra as part of their Janáček Discovery Day at LSO St Luke’s; Mahler’s Rückert Lieder with the Freude Orchestra; the world premiere of song cycle Etched onto Me by James Allen, for Barbican’s ‘Singing for Our Lives’; Vaughan Williams’ Serenade to Music under the baton of Vassily Sinaisky at Milton Court; Schoenberg’s Gurrelieder with the London Philharmonia, conducted by Esa-Pekka Salonen at both Royal Festival Hall and Basilique Cathédral de Saint-Denis.

A keen recitalist, Clover has performed in a growing number of locations across England, such as at St George’s Bristol, Iford Manor, St Lawrence Jewry, Sidney Sussex College (University of Cambridge) and at the Wiltshire Music Centre.

Alongside this, Clover has made a name for herself in performing and reciting poetry. Her recitations have been broadcast on BBC Radio 4’s Poetry Please programme.

Anna’s roles include Queen of the Night (Magic Flute), Miss Wordsworth (Albert Herring), Susanna (Marriage of Figaro), Lucy (Menotti’s The Telephone), Lucy/Fan (Musgrave’s A Christmas Carol), Lena (Sokolović’s Svadba) and Amahl’s Mother (Amahl and the Night Visitors), as well as Marie Antoinette (Corigliano’s The Ghosts of Versailles) and Sophie (Der Rosenkavalier) in Trinity Laban Opera Scenes. Anna loves performing contemporary classical music and enjoys working with composers, including recently originating a role in Josh Kaye’s opera Outlier at Tête-à-Tête.

On the concert stage, performance highlights include Strauss' Brentano Lieder with Cambridge Graduate Orchestra, the world premiere of Denyer's The Fish That Became The Sun at the Huddersfield Contemporary Music Festival, and the soprano solo in Mendelssohn's A Midsummer Night's Dream with the London Mozart Players.