Versatile British mezzo soprano Sarah Denbee is based in London. She has sung with the Glyndebourne Festival Opera Chorus for their 2016 & 2017 seasons, and will be returning again in 2018.
Sarah is on the Extra Chorus lists at English National Opera, Opera North and Scottish Opera, tours regularly with Sir John Eliot Gardiner's Monteverdi Choir, and has previously sang in the Chorus at the Royal Opera House, Covent Garden in Gluck's Orphée et Euridice. She has sung with the London Symphony Orchestra, Scottish Chamber Orchestra and the English Baroque Soloists as a step-out soloist, and will be a step-out soloist again in May and June in Bach Cantatas throughout Europe with the English Baroque Soloists and Sir John Eliot Gardiner.
Please see Diary for upcoming performances.
Commendations/Reviews:
'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)h
Sarah is on the Extra Chorus lists at English National Opera, Opera North and Scottish Opera, tours regularly with Sir John Eliot Gardiner's Monteverdi Choir, and has previously sang in the Chorus at the Royal Opera House, Covent Garden in Gluck's Orphée et Euridice. She has sung with the London Symphony Orchestra, Scottish Chamber Orchestra and the English Baroque Soloists as a step-out soloist, and will be a step-out soloist again in May and June in Bach Cantatas throughout Europe with the English Baroque Soloists and Sir John Eliot Gardiner.
Please see Diary for upcoming performances.
Commendations/Reviews:
'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)h
