This season, four new ENO Harewood Artists have joined the programme. Get to know our fabulous four a little better here:
Nadine Benjamin, Soprano
‘I am delighted to be making my double debut with English National Opera, firstly as Clara in Porgy and Bess and then as Musetta in La bohème – two very different, but fabulous roles!I am incredibly excited to be in the ENO Harewood Artists programme which is dedicated to building and nurturing emerging artists whilst we expand our skills, with the phenomenal team support of coaches, management, back-stage crew and mentors that have generously been made available to us.
I feel so grateful for this opportunity from ENO – now it’s up to me to deliver to the best of my ability as I continue to grow and learn. I love recording. I released my debut album ‘Love and Prayer’ in August and recently recorded a number of Emily Dickinson songs with Nicole Panizza.’
William Morgan, Tenor
‘My time with ENO began as an Apprentice (a role in the show, not a training position, though it felt like both!) in the chorus of Mastersingers in 2015, an incredible company work including many of ENO’s leading figures. The Chorus is one of ENO’s greatest assets and I am proud that my first work with the company was as a member of it. I was then cast in a principal role in Tansy Davies’ Between Worlds at the Barbican, which was a significant break for me. I’ve been particularly involved with new compositions and with ENO’s work outside of the London Coliseum ever since, including ventures with ENO Studio Live – The Day After and Paul Bunyan. Since being named an ENO Harewood Artist, my first engagement was The Turn of the Screw at Regent’s Park Theatre, which I adored – the combination of venue and piece was perfect. In the coming season, I am most excited to bring my experiences of performing new work for ENO onto the Coliseum stage with Jack the Ripper.’
Alex Otterburn, Baritone
‘Although I’ve been an ENO Harewood Artist since April this year I won’t perform my first opera with ENO until April 2019, when I will sing Squibby in Jack the Ripper. Until then I am singing Cascada and cover Danilo in Opera North’s The Merry Widow, and Eddy in Greek at Brooklyn Academy of Music, New York with Scottish Opera.
Being a Harewood Artist is a privilege. The support and security of guaranteed coaching and future work for years to come is rare and something I feel very lucky to have. Also the structure of separate contracts, rather than a salary, is very helpful as it allows you space to work with other companies when you’re not required at ENO. As a result, I will be singing Chip in Bernstein’s On The Town next summer in Japan, before returning to ENO for two roles in the 2019/20 Season that I can’t mention as they are yet to be announced! I am most excited about a future ENO engagement in 2021 as it is my favourite opera, as well as my favourite production and I cannot wait!’
Rowan Pierce, Soprano
‘It was a real pleasure to make my ENO debut in the role of Tiny in Britten’s Paul Bunyan. Working together with the ENO Chorus was a real treat and I think I can speak for everyone when I say, what a team effort! While working on the Britten, I have been covering the Woodbird at ROH in Wagner’s Siegfried. After spending a few hours watching my colleague flying from the top of the theatre, somersault a few times in a harness and sustain a beautiful vocal line, I’m reminded how far away we are from ye olden days of ‘Park and Bark’ and very fortunate to be in London where all of these exciting productions are taking place. From acrobatic birds, I moved to puppets with Thomas Guthrie’s production of Dido & Aeneas, alongside the Academy of Ancient Music. With a full Barbican to sing to, it was thrilling to see how many people responded to Purcell’s music and the wonderful musicians at work. I’m very much looking forward to seeing where opera will take us next!
Now to the London Coliseum, to sing in ENO’s Opera For All Concert and then Papagena in Mozart’s The Magic Flute. I look forward to developing as an artist with the help of ENO, who have so far provided a great deal of support and opportunities in the form of coaching and auditions for opera companies around the world. Thank you ENO and I look forward to the journey!’