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The English soprano, Amy Carson, began her singing career as the youngest founding girl chorister at Salisbury Cathedral, and went on to study at Trinity College, Cambridge and the Royal Academy of Music. She has been fortunate enough to study with such eminent voice teachers as Patricia McCaffrey, Mikael Eliasen, and Noelle Barker both individually and on prestigious courses such as Academie du Festival d’Aix and The North Sea Vocal Academy.
From a young age Amy Carson has been performing and recording in venues around the world, both as a soloist and as an ensemble singer. She is a versatile artist, who performs recital, oratorio and operatic repertoire and whose regular commitments in both choral and solo contexts mean she enjoys exciting and diverse performance opportunities.
Highlights of Amy Carson's operatic roles include Pamina (in a film of W.A. Mozart's The Magic Flute directed by Kenneth Branagh), Soprano chorus in Igor Stravinsky's The Rakes Progress and cover Alinda in L’incoronazione di Dario (Garsington Opera), Amy Cumnor in The Cumnor Affair (Tete a Tete Opera), Susanna in W.A. Mozart's Marriage of Figaro and Constance in Francis Poulenc's Dialogue des Carmelites (Royal Academy Opera Scenes), Musetta in La Boheme (Choir of London, conducted by Nick Collon), Galatea in Acis and Galatea (Music for a While directed by Margaret Faultless), The Spirit in Dido and Aeneas (alongside Magdalena Kožená conducted by Nicholas Kraemer), Soprano Role in The Fairy Queen (at The Wigmore Hall conducted by Matthew Halls), Newspaper Seller and Strolling Girl in Benjamin Britten's Death in Venice (The Queen Elizabeth Hall conducted by Richard Hickox and at St Endellion Festival conducted by Martyn Brabbins).
On the concert platform, Amy Carson has sung much of the core repertoire from Monteverdi to Macmillian, and has appeared as a soloist at many of the UK’s most prestigious venues including the Barbican, Wigmore Hall, St John’s Smith Square, Cadogan Hall and The Queen Elizabeth Hall. Highlights include singing the Semi Chorus in the premiere of James Macmillan’s St John Passion with the London Symphony Orchestra (Barbican) conducted by Colin Davis; Soprano soloist in J.S. Bach's St Matthew Passion (BWV 244) (Barbican) with The Monteverdi Choir conducted by Sir John Eliot Gardiner and a consort performance of J.S. Bach's St John Passion (BWV 245) with the Orchestra of the Age of Enlightenment directed by Mark Padmore, which toured Japan and Korea.
Amy Carson has sung with many of the UKs leading ensembles (with some solo appearances) including The Sixteen (Director: Harry Christophers), Monteverdi Choir (Director: John Eliot Gardiner), Tenebrae (Director: Nigel Short), Gabrieli Consort (Director: Paul McCreesh), London Voices (Director: Terry Edwards), Philharmonia Voices, Contrapunctus and The Choir of the Enlightenment.
Amy Carson has a long-standing partnership with accompanist Nicola Rose and together they have performed recitals across the South West and in London. They have recently recorded Aaron Copland’s song cycle of Twelve Poems of Emily Dickinson, which they plan to perform as part of a longer programme (that will also feature some of her own song compositions) in various UK venues next year.
Recent projects include a major European tour of J.S. Bach's St Matthew Passion (BWV 244) and Magnificat (BWV 243) with Sir John Eliot Gardiner and The Monteverdi Choir; A performance of J.S. Bach's Magnificat (BWV 243) with London Voices conducted by François-Xavier Roth and Amy Carson's debut appearance with Solomon’s Knot in The Discovery of Bomarzo, both at The Aldeburgh Festival 2016.
Upcoming engagements include singing in L’Orfeo performances throughout Europe and in the USA with The Monteverdi Choir, performing the role of Galatea in Acis and Galatea directed by Margaret Faultless and singing J.S. Bach's St John Passion (BWV 245) with Tilford Bach Society directed by Adrian Butterfield. |
