Originally from Somerset, Emily Garland is a graduate of Royal Academy Opera and will return to the Grange Festival in 2021 to cover the title role in Puccini’s Manon Lescaut. She covered the Contessa Le nozze di Figaro in 2019, working with Ann Murray to prepare the role. Other highlights include Head Bridesmaid Der Freischütz conducted by Mark Elder, with the Orchestra of the Age of Enlightenment at the Royal Festival Hall, and performing in Aurora, a new commission composed by Noah Mosley for Bury Court Opera and Grimebourne Festival.
Emily performs regularly as a soloist on the oratorio platform, most recently in Verdi’s Requiem at St Paul’s, Knightsbridge, and Mozart’s Mass in C Minor at St. John’s Smith Square. In concert she has sung Strauss’ Vier Letzte Lieder with the City of Cambridge Symphony Orchestra, a recital of Liszt and Loewe at both Leeds Lieder Festival and Wigmore Hall. She has also sung at the Southrepps Music Festival and in solo recital at the Three Choirs Festival and the Guildhall for Princess Anne and Prince Michael of Kent.
For Royal Academy Opera, Emily performed the title role in Suor Angelica and Contessa Le nozze di Figaro at Hackney Empire. She is a winner of the Richard Lewis Award and a Kathleen Ferrier semi-finalist. Emily has also worked with Richard Bonynge, Leo Nucci, Silvana Bartolli and Barbara Frittoli at the Georg Solti Accademia.
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“A jugendlich-dramatisch future could well lie in Emily Garland’s soprano, which she steered with precision and sensitivity through the Countess’s long lines. She can say much with a single look or gesture and her ‘Dove sono’ was, duly, a highlight.”Opera Now
“As the Countess, Emily Garland captured the character’s melancholy perfectly, with a heartfelt ‘Porgi Amor’ in Act Two and a searing, subtly inflected ‘Dove sono’ that rightly won the most enthusiastic applause of the evening.”Bachtrack
“Emily Garland’s Suor Angelica quite floored me: a startling mature performance. Her voice was the real thing, her tragic plight involving one as only a fine vocal performance could. Puccini’s mix, especially here, of sadism and sentimentality can be hard to take, but we found ourselves in expert hands.”Seen and Heard International