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Based in London, versatile British mezzo soprano Sarah Denbee has sung with the Glyndebourne Festival Opera Chorus for 3 years and works regularly with Sir John Eliot Gardiner’s Monteverdi Choir and other ensembles. International solo engagements have included the Amsterdam Concertgebuow, Vienna Musikverein, Cologne Philharmonie, the Palace of Versailles, Luxembourg Philharmonie, Frankfurt Alte Oper, Leiozig Nikolaikirche among many others.
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Sarah is on the Extra Chorus lists at English National Opera, Opera North and Scottish Opera, and has previously sang in the Chorus at the Royal Opera House, Covent Garden. She has sung with the London Symphony Orchestra, Scottish Chamber Orchestra, the Orchestra of the Age of Enlightenment and the English Baroque Soloists as a step-out soloist.
Please see Diary for upcoming performances.
Commendations/Reviews:
'Sarah Denbee's delightful Magdalene was very much Eva's contemporary and accomplice rather than her nanny' (Wagner News)
Sarah Denbee has an intuitive sense of nuance for everything Magdalene sings, and she effortlessly shapes her lovely mezzo to the scale of orchestra and theatre' (classicalsource)
'David...and Magdalene (a silky-voiced Sarah Denbee) are well matched' (The Stage)
'...Sarah Denbee's engaging Magdalene...Denbee made a good match with David...thankfully this David/Lene double-act was not camped up' (Opera Magazine)
'...the engaging Magdalene of Sarah Denbee. Mout and Denbee successfully brought off the rather heavy-handed banter which Wagner gives them, making us believe the young people, and Denbee impressed in a role where it is often easy to retire into the background' (Robert Hugill)
'Sarah has a strikingly individual voice of real quality...she sings with real authority and persuasiveness' (Sir John Eliot Gardiner)
'The Handel was a real tour de force with terrific drama, excellent control of coloratura and very good ornamentation' (Stephen Varcoe)
'Sarah Denbee projects veiled power as Fanny [Price]' (The Independent)
'Sarah Denbee brings a quiet dignity to the role of Fanny Price, with a beautifully rich voice that matches Fanny's underlying emotional maturity' (Fringe Opera)
[Butterfly] has sympathetic support from Sarah Denbee as the loyal Suzuki' (The Stage)
‘Sarah Denbee made a charming Dorabella, still the more skittish one but also with a core of inner strength. Her first aria, Smanie implacabili was extremely impressive’ (Robert Hugill)
'...a sweet voiced Fanny Price, singing with tremendous power'
(Musical America Worldwide)
'Sarah Denbee plays Butterfly's maid, Suzuki, and the two of them created some beautiful duets' (Everything Theatre)
'Sarah Denbee’s brilliantly bizarre Witch succeeds in being both humourous and un-nerving in equal measure... Denbee shows a real connection to the material and puts the audience in the slightly odd paradox of rooting simultaneously for and against her – a difficult skill indeed for any performer' (Edinburgh 247)
'...rich and velvety voice...excellent diction and use of text, and very musical negotiation' (Hilary Summers)
'...Lovely voice, played the difficult cross-dressing part (Prince Orlofsky) with verve and confidence' (NODA)
'...Sarah Denbee's Dorabella, perfect for the role' (John Lanigan-O’Keeffe)
Please see Diary for upcoming performances.
Commendations/Reviews:
'Sarah Denbee's delightful Magdalene was very much Eva's contemporary and accomplice rather than her nanny' (Wagner News)
Sarah Denbee has an intuitive sense of nuance for everything Magdalene sings, and she effortlessly shapes her lovely mezzo to the scale of orchestra and theatre' (classicalsource)
'David...and Magdalene (a silky-voiced Sarah Denbee) are well matched' (The Stage)
'...Sarah Denbee's engaging Magdalene...Denbee made a good match with David...thankfully this David/Lene double-act was not camped up' (Opera Magazine)
'...the engaging Magdalene of Sarah Denbee. Mout and Denbee successfully brought off the rather heavy-handed banter which Wagner gives them, making us believe the young people, and Denbee impressed in a role where it is often easy to retire into the background' (Robert Hugill)
'Sarah has a strikingly individual voice of real quality...she sings with real authority and persuasiveness' (Sir John Eliot Gardiner)
'The Handel was a real tour de force with terrific drama, excellent control of coloratura and very good ornamentation' (Stephen Varcoe)
'Sarah Denbee projects veiled power as Fanny [Price]' (The Independent)
'Sarah Denbee brings a quiet dignity to the role of Fanny Price, with a beautifully rich voice that matches Fanny's underlying emotional maturity' (Fringe Opera)
[Butterfly] has sympathetic support from Sarah Denbee as the loyal Suzuki' (The Stage)
‘Sarah Denbee made a charming Dorabella, still the more skittish one but also with a core of inner strength. Her first aria, Smanie implacabili was extremely impressive’ (Robert Hugill)
'...a sweet voiced Fanny Price, singing with tremendous power'
(Musical America Worldwide)
'Sarah Denbee plays Butterfly's maid, Suzuki, and the two of them created some beautiful duets' (Everything Theatre)
'Sarah Denbee’s brilliantly bizarre Witch succeeds in being both humourous and un-nerving in equal measure... Denbee shows a real connection to the material and puts the audience in the slightly odd paradox of rooting simultaneously for and against her – a difficult skill indeed for any performer' (Edinburgh 247)
'...rich and velvety voice...excellent diction and use of text, and very musical negotiation' (Hilary Summers)
'...Lovely voice, played the difficult cross-dressing part (Prince Orlofsky) with verve and confidence' (NODA)
'...Sarah Denbee's Dorabella, perfect for the role' (John Lanigan-O’Keeffe)
