Born in Winchester, British soprano Rosalind Coad gained a 1st class BMus at the Royal College of Music before becoming a member of the English National Opera Works Course. Currently in her final year on the Opera Course at the Royal Academy of Music (RAM), Rosalind is the recipient of a Sybil Tutton Award from the Musicians Benevolent Fund, a Bach Kohn Scholar for the RAM/Kohn Foundation Bach Cantata Series, is a member of the Royal Academy song cycle and was awarded the Independent Opera vocal Scholarship at the RAM in 2013. Rosalind studies with Lillian Watson and Audrey Hyland.
Winner of the Oxford Lieder Young Artist Platform Award in 2013 and the 2nd prize at the Bampton Classical Opera Competition, Rosalind was also a Britten-Pears Young artist in 2012, and has taken part of Masterclasses with Simon Keenlyside, Dawn Upshaw and Graham Johnson.
At the Royal Academy of Music, Rosalind performed Noémie Cendrillon (Massenet), Spirit Dido and Aeneas, La Bergère L’enfant et les sortilèges and Baronesa Irene in Haydn’s La Vera Constanza. Other roles include Donna Elvira Don Giovanni and Musetta La Bohème (OperaUpClose), Hélène La Belle Hélène (Merry Opera), Sandman Hänsel und Gretel (Opera Door Opera), and Elisetta in Cimarosa’s Il Matrimonio Segreto (British Youth Opera).
Also on demand as a concert singer, Rosalind sang Bach’s St Matthew Passion and St John Passion as well as Cantatas, Handel’s Messiah, Dixit Dominus, Israel in Egypt and Samson, Mozart’s Requiem and Exultate Jubilate, Pergolesi’s Stabat Mater, Rossini’s Petite Messe Solennelle, Vivaldi’s Gloria, and Haydn’s Creation and Nelson Mass.
Passionate about the Song repertoire, Rosalind regularly performs recitals with her pianist Gregory Drott.
Recent engagements include Gianetta L’Elisir d’amore for Opera Holland Park, Ginevra Ariodante and Bach Cantatas at the Royal Academy of Music, Clotilde Norma for Opera Holland Park.
Rosalind Coad is a Scottish Opera Emerging Artist from September 2014 where she will cover Clorinda La cenerentola and Euridice Orfeo ed Euridice, will perform recitals in Glasgow, and will sing Ordinary Person in Ines de Castro and Karolka in Jenufa. Image above courtesy of Raphaelle Photography
Q&A with Rosalind Coad
At what age did you fall in love with opera and why?
I fell in love with opera aged 6 when I went to Covent Garden for the first time. I'd been begging my parents to take me for a few years as they had taken my older brother a few times and I was clearly missing out! We saw La Fanciulla del West by Puccini and were hooked from then on, despite being quite frightened when a gun went off on stage!
Why is Britten your favourite composer?
My first Britten experience was singing Saint Nicholas in a children's choir aged 9, and I HATED it! But I gradually got over the experience and have grown to love Britten for his uniqueness - his music has such a distinctive quality. Technically his compositions are incredibly clever - did you know that the whole of Turn of the Screw is a set of variations on a twelve-note row?! But we don't just hear his technique - he is a master at using it to manipulate the listener's emotions and opinions.
Funniest outfit on stage?
I'm not sure if I've worn anything particularly funny on stage, but my most outrageous costume was for La Vera Costanza by Haydn at the Royal Academy of Music. I played a Baroness who had been ship wrecked, so I had a huge skirt and a corset, but it was all shredded and water marked. On top of this I had a large powdered wig and a rather weather-beaten parasol and fan. Throughout the opera the characters re-constructed their outfits from debris they picked up on the beach, so at one point I had a sash made of sea weed and a lobster in my wig!