Studies of a Soprano

Student Stories Series: Olivia Rose Tringham – Soprano.

In the third episode of the ‘Student Stories’ series, I chat to the wonderful Olivia Rose Tringham – Soprano. It was such a privilege to talk to Olivia about her life and vocal journey. If you have any questions for myself or Libby, please get in touch.

LISTEN HERE

Biography

Originally from Merseyside, Olivia is a Royal Northern College of Music graduate, currently singing spinto soprano repertoire. At the RNCM, Olivia has played Mère Marie in Poulenc’s Dialogues des Carmélites, La Suora Infermiera in Puccini’s Suor Angelica, Sally in Baraber’s A Hand of Bridge and Fanny Price in Dove’s Mansfield Park. She has also performed opera scenes from Menotti’s The Old Maid and the Thief, Flight by Jonathan Dove and Vaughan William’s Sir John in Love. Olivia has a natural draw to character driven music and particularly enjoys tackling musically challenging repertoire.

Professionally, Olivia was due to perform in the 2020 Buxton International Festival as one of their Young Artists, performing as Mrs Segstom in A Little Night Music by Sondhiem and as chorus in Rossini’s La Donna Del Largo. Olivia was also due to be a part of the Wexford Festival Opera Chorus with a step-out role in Catalani’s Edmea and roles in their pocket opera The Dark Side of Shakespeare. However, these two festivals were cancelled due to COVID-19 restrictions. Olivia has recently set up independent opera company ALLO Opera, with the aim of giving Young Artists performance opportunities during the coronavirus pandemic. ALLO Opera have produced a series of recorded virtual Galas with extremely talented young artists, are producing a recorded live, fully staged version of Mozart’s Don Giovanni in July, in which Olivia will play Donna Elvira. ALLO Opera has built and online community of young artists, and are trying to re-write the way that young artists think they have to portray themselves online.

Olivia holds many teaching and conducting posts, leading adults, children and young people alike. She regularly works for Stagecoach Northwich, Holy Innocents Church of England Fallowfield and East Cheshire’s Musical Theatre Company. With ECMTC, Olivia project-managed, taught and conducted the successful Classical Crossover series, aiming to showcase the accessibility of classical music to musical theatre singers and audience members.

Outside of musical work, Olivia has had what she calls ‘character building jobs’ in almost every industry, from hotels to bookmakers, call centers to the Amazon warehouse. Due to the COVID-19 restrictions, she has been unable to return to the RNCM this year. Olivia also started her running journey this summer, having never ran before, on the #Couchto5Kapp. She is now working towards running the Vitality Big Half Marathon in April 2021, raising money to continue her studies.

Olivia’s Top Tips!

Get Comfortable With Being Uncomfortable: Be as open as you can.
Take the Risks and Do the Things: Do as much as you can and get as much out of the situation as you can.
Be Nice: You will have a much nicer time if you are nice to people. That is how you make those lasting connections. Nobody is going to be perfect – so just be nice!

It was such a privilege to talk to Olivia about her life and vocal journey and I would like to thank her for sharing her time with us. If you have any questions for Libby or myself, please do not hesitate to get in touch!

Stay tuned for more podcasts coming your way!

Lucy

‘Vocal Health Series’ – My Top Tips!

Continuing on from the ‘Studies of a Soprano‘ ‘Vocal Health’ Series launch, in this blog post, I shall share my own tips on how to look after your voice as a student at conservatoire. I do hope you enjoy this blog – if you have any questions, please do not hesitate to get in touch!

Vocal Health Series – Studies of a Soprano

My Top Tips!

1. Prioritise Sleep.

As singers, our body is our instrument, therefore when our body becomes tired, so does our voice. We sing best when our bodies are happy and healthy. In order for us to reach optimal health and functionality, we need to ensure we obtain an adequate amount of sleep each day. According to the NHS website, most adults need between six and nine hours of sleep every night. I understand sleep levels vary from person to person and, as singers, we often have very busy and changeable schedules, making it difficult to stick to a routine. I would recommend downloading a sleep app such as ‘Sleep Cycle’ to track the amount of sleep you are getting and keeping a log of things you have done before having a good or bad night’s sleep. This can help you to identify habits, such as using a phone before bed or increased stress levels.

2. Stay Hydrated.

Drinking lots of water is crucial for maintaining a healthy voice. The Eatwell Guide suggests we should consume six to eight glasses of fluid a day. I would suggest always having a bottle of water with you (to take to classes and rehearsals) and even setting reminders on your phone to keep hydrated! It is also worth noting that certain foods and drinks can cause dehydration. For example, caffeinated drinks such as coffee and tea can cause a lack of hydration as they are diuretics. Being an avid tea lover, I personally try to drink a glass of water as I wait for the kettle to boil when making a cup of tea… every little helps!

3. Exercise

Singing is an incredibly physical activity – so it is no wonder we are often referred to as vocal athletes! To ensure you are feeling healthy, strong and ready to sing, I would highly recommend engaging in physical exercise. This doesn’t have to be anything extreme, it can simply be going for a walk in the fresh air each day. Not only will this improve your physical health, but even your mental health. An improvement in both of these areas will undoubtedly have positive impact on your voice.

4. Know when to say ‘no’.

It can be easy – especially as a young singer – to feel pressured into performing when you’re not quite feeling up to it. If you feel any sort of pain or discomfort vocally – however slight – the simple solution is to not sing! It is without a doubt better to decline one performance than to perform and risk damaging your precious vocal folds! Do not be afraid to do what is best for you.

5. Vocal Technique.

A very important factor in maintaining top vocal health is ensuring you are performing with the correct vocal technique. Singing with a secure and reliable technique (including support, breath control and posture) will help to keep your voice healthy and singing for longer. If you are unsure about vocal technique or have any questions, I would recommend speaking to your voice teacher, or send me a private message if you would like any advice. A favourite technique I love to use during practice is the straw technique (a semi-occluded vocal tract exercise ‘SOVT’), as this ensures that you are engaging in continual air flow when singing whilst placing less pressure on the vocal folds. For more information on ‘SOVT’ exercises, do check out the link at end of the blog.

6. Avoid Vocal Overuse.

As professional voice users, we put our voices through many hours of work; from rehearsals to singing lessons and concerts. In the time that you are not using your voice in professional situation, be kind to it and try not to overuse it. I would suggest avoiding shouting in loud, busy places and also bearing in mind that whispering too can put strain on your vocal folds. If your voice is feeling tired, do try to steer away from throat lozenges if possible, as these numb the vocal folds and can lead to vocal overuse as a result.

7. Rest Up!

One thing I have certainly had to learn throughout my time as an Undergraduate student is that it is still productive to rest. It is important to listen to your body and give it what it needs. Trying to push yourself too hard when you are feeling physically tired, just because you feel you should, will be more detrimental to your work output. Taking time to relax and minimising stress benefits your voice and your singing.

8. Repertoire Choice.

It can be very tempting as a young vocal student to want to sing repertoire that is big and exciting, however you must always check your repertoire with your teacher before you dive into it! It is important to make sure you are singing the correct repertoire for your voice type and your current stage in development, as singing unsuitable repertoire can put a strain on the voice. I have often been told that if an aria is suitable for you, you should be able to sing it multiple times without tiring.

9. Know When to Ask For Help.

If you have a vocal problem for a prolonged amount of time or if something doesn’t feel quite right – please do not be afraid to ask for help and advice. If you have any concerns, I would suggest consulting your GP and asking to be referred to a specialist who can then check everything over for you.

RESOURCES:

BAPAM: https://www.bapam.org.uk/

HELP MUSICIANS UK: https://www.helpmusicians.org.uk/health-welfare/vocal-health

BRITISH VOICE ASSOCIATION: https://www.britishvoiceassociation.org.uk/

STRAW PHONATION: https://www.voicescienceworks.org/straw-phonation.html

Thank You For Reading!

A podcast version of this blog will be made available soon.

Instagram: https://www.instagram.com/studiesofasoprano_/

Student Stories Series: Stephanie Maitland – Mezzo-Soprano

In the second episode of the ‘Student Stories’ series, I chat to the amazing Stephanie Maitland – Mezzo-Soprano. It was wonderful to talk to Steph about her life and vocal journey. If you have any questions for myself or Steph, please get in touch.

LISTEN HERE

Episode 2: Stephanie Maitland – Mezzo-Soprano

Biography

Stephanie Maitland is a Scottish contralto currently on the Young Artist Programme 20/22 at the Wiener Staatsoper. Stephanie débuted at the Wiener Staatsoper with Die Schleppträgerin in Strauss’s Elektra and went on to sing roles including Zweiter Knappe in Serebrennikov’s new production of Wagner’s Parsifal, Rosette in Massenet’s Manon (performances cancelled due to Covid) and Roßweiße in Wagner’s Die Walküre (performances also cancelled due to Covid.) At the Staatsoper, she has covered the roles of Dryade in Strauss’s Ariadne auf Naxos, Hippolyta in Britten’s A Midsummer Night’s Dream, Annina in Verdi’s La traviata, and the Third Lady in Mozart’s The Magic Flute. Over the summer, she was due to join the Glyndebourne chorus for their 2020 season, however this was cancelled due to Covid. During the summer of 2019, she was an Alvarez Young Artist with Garsington Opera, covering the role of Mrs Grose in Britten’s The Turn of the Screw. She studied at the Royal Northern College of Music, under the wonderful tuition of Jane Irwin. During her time at the RNCM, Stephanie sang the roles of La Prieure in Poulenc’s Dialogues des Carmélites, La Principessa in Suor Angelica and Zita in Gianni Schicchi in RNCM’s Puccini double bill, Lady Bertram in Dove’s Mansfield Park, Madam By-ends in Vaughan William’s The Pilgrim’s Progress and the Sandman in Humperdinck’s Hansel and Gretel. Stephanie was also a semi-finalist in By Voice Alone and won a Singer’s Preparation Award from Audition Oracle. She is a recipient of the Alice Orrell and A&N Kendall Award and previously held a Sybil Tutton Award from Help Musicians UK. Stephanie is represented by Mark Kendall Artists Management and is mentored by Karen Cargill.

Steph’s Top Tips!

Go Where You are Really Wanted: If you feel like you have got the support from somebody – be that a teacher, a school or an agent – go with your gut and go where you are wanted.
Know What You Want To Sing: Know what rep you can sing now and trust what your voice should be doing.
Follow Your Own Journey: Don’t be worried about what anyone else is doing, just do what is right for you.

It was an utter joy to talk to Steph about her life and vocal journey and I would like to thank her for sharing her time with us. If you have any questions for Steph or myself, please do not hesitate to get in touch!

Stay tuned for more podcasts coming your way!

Lucy

Student Stories Series: Julia Mariko Smith – Soprano

I am very happy to have launched the ‘Student Stories’ Podcast Series. Throughout the series, I will be interviewing incredible artists from within the classical singing industry – discovering the details of their interesting and varied vocal journeys.

In the first of the ‘Student Stories’ series, I chat to the incredible Julia Mariko Smith – Soprano. It was such a joy to chat to Julia about her vocal journey. If you have any questions for myself or Julia, please get in touch.

LISTEN HERE

Episode 1: Julia Mariko Smith – Soprano

Biography

Japanese-English soprano Julia Mariko Smith was born in North East England, and is currently represented by Steve Phillips Management. Her recent appearances include covering Amore in Opera North’s BBC Radio 3 broadcast of Orfeo ed Euridice in March 2021, Covering and performing Barbarina for their tour of The Marriage of Figaro and playing Fairy Godmother for their Whistle Stop Opera film Cinderella, both in 2020. She grew up with a musical background and was a member of Chester-Le-Street Theatre Group from 1999-2011 before starting at Liverpool Hope University for her undergraduate and Masters, taught by Vanessa Williamson and Professor Stephen Pratt. Julia finished her studies at the Royal Northern College of Music on an Associate Studentship in 2020, after also completing a Postgraduate Diploma In 2019 under the tutelage of Deborah Rees. At RNCM she performed as Soeur Constance Dialogues des Carmélites and Mary Crawford Mansfield Park and toured with the National Gilbert and Sullivan Opera Company 2019 as principal and chorus. Julia will eagerly join Waterperry Opera Festival in 2021 as Gretel in their production of Hansel and Gretel and looks forward to performing at Leeds Lieder Festival alongside Dame Sarah Connolly and Joseph Middleton as an artist of the Momentum: Our Future Now initiative in April 2021. Julia’s interests include indulging in Japanese cuisine, being a Disney enthusiast and a love for cats!

Julia’s Top Tips!

Be Nice. Support other people.
Be Yourself. There is only one of you in the world. We get caught up in comparing ourselves to each other and while it is good to see what other people are doing – that can be celebrated – you can also do your own thing.
Work Hard. Hard work pays off and it shows.

It was a joy to chat with Julia about her life and vocal journey and I would like to thank her for sharing her time with us. If you have any questions for Julia or myself, please do not hesitate to get in touch!

Stay tuned for more podcasts coming your way!

Lucy

‘Vocal Health Series’ – Dan Turnell Physio.

The first professional I shall introduce in my ‘Vocal Health’ Series, is the incredible Dan Turnell. I have known Dan for around two years now and he is my ‘go-to’ when I’m experiencing any vocal or physical tightness. After a session with Dan, I feel tension free, happy and ready to sing!

An Introduction to Dan:

Dan Turnell (Physio) – For the video, visit @studiesofasoprano_ Instagram.

“Hi! I’m Dan Turnell, performance physiotherapist based in central Manchester and Altrincham. Specialising in work with musicians and singers, I have worked with students from the RNCM and professionals (from pop, opera and musical theatre) for several years – helping to keep everyone physically and vocally healthy“. – Dan Turnell.

I asked Dan a few questions about what he does, why it is effective and what we can do as singers to keep our voices happy and healthy! Check out his answers below:

What is LMT? (Laryngeal Manual Therapy)

A range of hands on techniques to treat the muscles of the neck, tongue and jaw, which can impact upon the voice box, or voice production.

How can it help?

It can help if you are noticing any changes to your voice: reduced stamina – changes in vocal quality or tone, breathiness, hoarseness or pain, stiffness in the jaw or neck or even headaches that seem tension related. It is a form of treatment that ensures that these tissues remain healthy and mobile, reducing muscle tension that can affect the voice box and jaw. Helping to maintain an easy and efficient voice.

What are your top 3 tips for maintaining a healthy singing voice?

Hydration. So important for general health but also vocal health.

Warm up AND cool down. As is the case when using any muscles for activity it is really important to include not only vocal exercises but also physical exercises such as static and dynamic stretches and mobility movements.

Exercise. I’m a big believer in appropriate exercise helping to improve singing performance. It can improve posture and endurance, all of which can help breath support and improve your physical awareness and physicality on stage.

Dan has also written a series of blogs regarding vocal health for singers:

what-is-muscle-tension-dysphonia-1 Download

what-is-larangeal-manual-therapy Download

vocal-health-tips Download

neck-tension-and-the-voice Download

For more information about Dan, visit his website and social media:

www.danturnellphysio.com. // @danturnellphysio

Instagram: https://www.instagram.com/studiesofasoprano_/

lucyfarrimondmusic.co.uk

Vocal Audition Tips!

Hello! Welcome to the ‘Studies of a Soprano’ blog. This blog will feature my top tips on how to prepare for a Conservatoire audition. Although these tips are aimed at conservatoire auditions in particular, the advice can be filtered into other areas of professional auditions. I do hope you find these tips useful!

Prepare EARLY:

It is important to know that most UK conservatoire auditions take place each November and December, so you should keep this in mind prior to the application process to ensure you are fully prepared and thinking ahead. As soon as you receive your audition date, put it in the diary! I actually use a countdown app for important things such as auditions and assignment deadlines, so I would definitely recommend downloading something like this to remind you of how much time you have to prepare.

Audition repertoire:

It is always a good idea to have a variety of repertoire on the go in your individual practice. Most conservatoires in the UK require at least three contrasting pieces at audition; one of which is usually an operatic and/or oratorio aria and the others being either French Mélodie, German Lied or English Song. The repertoire you need to prepare will vary for each institution, so I would recommend preparing a document and allocating your chosen repertoire to each institution clearly in a table. Make sure that you pick repertoire that you are comfortable with and that represents you and your voice at the stage that you are at now. Conservatoires are looking for potential and will know which direction your voice is taking – so don’t be tempted to sing a dramatic aria if you are not quite ready for it. Voices take time to develop and the panel know this. If you are unsure of what to sing, I would recommend speaking to your voice teacher. You can also get in touch with me via direct message and I would be happy to help with suggestions in any way I can.

Perform as much as possible!

To make sure you are as confident as possible with your chosen repertoire – sing it to an audience as much as possible beforehand! This doesn’t have to be in an incredibly formal manner or on a grand stage – it can be to your parents at home in your living room! Just having the experience of walking into a room, taking a bow, introducing and singing your repertoire will help you prepare for the audition room and make the experience that little bit easier and more familiar when it comes.

The dress code:

I remember vividly searching online for ideas and inspiration of what to wear for my undergraduate auditions. I also remember finding it very bizarre that most instrumentalists do not have to worry about this issue as it is common for them to audition in smart casual or concert dress! We are so often told as singers to dress up and be as glamorous as possible. If you love to do this, then by all means go for it – but I wouldn’t say that it’s completely necessary to wear a ball gown to an audition! When choosing an outfit, make sure you can breathe properly in it – and by this, I mean you should be able to do a deep and supported “singer” breath. In terms of the outfit – I don’t think you can go wrong as long as you stick to smart and sensible and you are comfortable. The only items of clothing I would be wary of are shoes. Can you walk confidently in them? Are they sturdy? You may feel brilliant in stilettos, but do you feel grounded and supported when you sing in them? I would definitely do a run through of your audition repertoire in your audition outfit beforehand to be on the safe side!

Arrive ahead of time:

Make sure you arrive at the conservatoire early (even earlier than the advised time!). This is very important to prevent lateness from traffic jams or delayed public transport. The audition may be in a city that is new to you, so make sure you work out your directions in advance. Save yourself the stress and have that extra level of preparation. Having extra time at the conservatoire will help you get your bearings and calm down before registering and heading to your warm up room.

The warm up:

Make the most of your warm up time and be sure not to ‘over’ warm up. It can be easy to do, especially if you are feeling a little bit nervous, but make sure not to overwork. Start warming up gently and vocalise until you are feeling happy, healthy and agile. You don’t want to overwork yourself and make your voice tired before heading into the audition room. I would advise also doing some stretches and breathing exercises. Not only will the breathing exercises help set your body up for performing, the regulation of breath will calm and focus you.

Chat to the accompanist:

If you are using a conservatoire accompanist, in most cases you will only be allocated a short amount of time with them. Try to make the most of this time. Top and tail each of your pieces (without overdoing it) and be sure to point out the key moments in the piece where you have made a considerable artistic decision. This could be a fermata that is held extra long (show off those high notes!) or a rallentando that is exaggerated. Do not be afraid to voice your opinions here. Accompanists are highly talented and will follow your cue but they are not mind readers – if there is something you want doing in a very precise way – tell them!

Relaxation Techniques:

It is completely normal to be nervous for an audition. I always try to think of it this way ‘being nervous just means that you care’ and nerves can actually be a good thing. In the past, to manage pre-audition nerves, I have practised mindfulness. If you are new to this, I would definitely recommend downloading the app ‘Headspace’ which is a great introduction for beginners. If you feel your heart starting to race, try to think of five things you can see, hear and feel and allow your mind to focus on those things instead of your nerves. Have a think about what makes you happy and relaxed. Do you like listening to music, or reading a book? I would recommend bringing a book with you or some headphones to listen to your favourite music whilst you are waiting. As we all know, the waiting part is always the hardest in these situations. Above all, remember that you have prepared and done your best and that is all anybody can ever ask of you!

Be Yourself!

I cannot stress this point enough. Walk into that audition room confidently – as you. As tempting as it can be to listen to a singer you admire and emulate them as much as possible (we’ve all done it), the panel want to see an authentic performance. There is only one you and that is your unique selling point. Show them the true you, be honest and they will be sure to love you.

GOOD LUCK!

If you are a student who is considering auditioning to conservatoire, I do hope these tips help! If you have any questions, do drop me a message directly or leave a comment on this post!

The podcast version of this blog can be accessed via the following link: https://anchor.fm/studiesofasoprano/episodes/Vocal-Audition-Tips-etvn8d

Instagram: https://www.instagram.com/studiesofasoprano_/

lucyfarrimondmusic.co.uk

Conservatoire Tips!

Hello! I hope you are well. The first topic I would like to cover in my series of blogs is life as a vocalist at conservatoire. I want to share my own tips and advice to help prospective students prepare for and navigate an undergraduate degree. This blog post will discuss audition experiences, choosing a teacher and the various things I found to be very helpful throughout my own student experience.

I am due to start a Masters degree in vocal performance at the Royal Northern College of Music in September and I am looking forward to sharing my experiences and discoveries with you on this blog as I continue to progress through the (many) stages of classical singing training. If you have done a Masters degree in classical singing – what are your top tips? Do leave a comment in the chat box below as I would love to hear about your experiences!

Starting Conservatoire as an Undergraduate:

Starting life at a conservatoire is a very exciting time. At conservatoire, you are launched into an environment where you are surrounded by so many like minded people and you will no doubt make life-long friendships. It may seem daunting – entering a pressured environment of intense study – but it is these friendships and support groups that will help and support you through your student experience and you will have the time of your life.

2. Focus on ‘you’:

The phrase “the only person you are in competition with, is yourself” can be easily overlooked. I have come to learn throughout my four years at undergraduate that it is, in fact, a resounding truth. Every person and voice is unique and we will all take equally individual journeys through student life as singers. I try to remember “the only musician you should strive to be better than, is the one you were yesterday”. So do try to keep this in mind. From my own experience, I found that studying a somewhat “niche” and focused course has meant that myself and my course mates understand exactly what each other is going through, and we all strive to egg each other on and support each other without judgement.

3. Attend as many classes as possible:

I would advise that you attend as many classes as you possibly can – even those outside of your principle study. If you are not singing in a performance class, go along and support your class mates who are. You WILL learn something (I promise!). Even if the repertoire is not suitable for you or not even your voice type, attending performance classes is a great way to observe performance practice and learn new repertoire. Be the audience member that you would like to perform to!

4. Mix with students from other fields of study!

It can be very tempting (especially as a fresher!) to form a friendship bubble solely of singers – and to stick to that bubble for comfort! I would certainly advise getting to know instrumentalists from each area of study, as not only will you get to meet a great bunch of amazing people, but you will also have the chance to learn about something completely new and unrelated to your own study!

5. Attend as many concerts as possible! (Post Covid – that is!):

At the RNCM in Manchester, we are very lucky to have incredible orchestras such as ‘The Hallé’ and ‘BBC Philharmonic’ on our doorstep! Pre-Covid, both of these orchestras would perform at The Bridgewater Hall weekly and would sell student tickets for as little as £3! I found attending these concerts, even if the programme was unrelated to singing repertoire, helped me develop my knowledge of orchestral repertoire and concert etiquette! (Don’t forget the interval ice cream – a highlight!)

6. Take part in musical activities OUTSIDE of conservatoire:

Studying at conservatoire offers many wonderful internal performance opportunities, however I personally believe it is important to try to build professional performance experience outside of conservatoire life. This allows you to grow your confidence as you progress throughout your studies, and will result in you leaving conservatoire with confidence and the preparation for professional life!

7. Stay on top of academic work:

Yes – academia is still a large part of conservatoire life! It can be easy to be tempted into focusing solely on performance studies but make sure you get all of your academic deadlines written in early, research academic referencing in advance and stay on top of your readings. Your future self will thank you! I personally love academic music and would be happy to write a separate blog about this if my readers are interested!

8. Finally – Have fun!

Classical singing has a stigma of being incredibly serious and set in it’s ways – a stereotype I, alongside many wonderful organisations, are trying to change. It is important to take your studies seriously and to strive to be the best you can be. However, you must also remember that your mental health is equally important, and taking time to unwind with friends or at Student Union events is a great way to balance work and life as a student.

If you are a student due to start conservatoire (or considering auditioning), I do hope these tips help! If you have any questions, do drop me a message directly or leave a comment on this post!

The podcast version of this blog post can be accessed via the following link: https://anchor.fm/studiesofasoprano_/episodes/Conservatoire-Tips-etslj7

Instagram: https://www.instagram.com/studiesofasoprano_/

Welcome!

Hello! Welcome to ‘Studies of a Soprano’ – a blog site dedicated to helping and advising young classical singers.
⁣

My name is Lucy Farrimond and I am a classical soprano in my final year of undergraduate study at the Royal Northern College of Music, studying with Jane Irwin. I have set up this page to share personal advice regarding the fundamentals of classical singing I have learned at conservatoire. I hope to discuss all things vocal related; from vocal health and musicianship to mental health. This page is an open place for aspiring singers to share ideas and to support each other in what can be a tough and competitive industry! I hope information shared can be of help to those hoping to attend conservatoire, current conservatoire students and anybody interested in the life of a classical singing student.

Keep your eyes peeled for content and do let me know which particular areas of the industry you would like me to explore!

I am very excited to see where this new venture will lead. Stay tuned for more information!

Lucy Farrimond

About The Founder: Lucy Farrimond

Lucy Farrimond is a classical Soprano based in Greater Manchester, UK: currently studying BMus (Hons) in Vocal Studies at the Royal Northern College of Music, under the tutelage of Jane Irwin. Lucy has performed at esteemed venues throughout the UK and abroad, including: The Royal Albert Hall, The Bridgewater Hall, Snape Maltings and The Embassy of the United Kingdom in Paris.

At 21, Lucy made her BBC Proms Solo Debut in Haydn’s ‘The Creation’ at The Royal Albert Hall, with the BBC Philharmonic and BBC Proms Youth Choir – conducted by Omer Meir Wellber – live on BBC Radio 3. For this performance, Lucy received a mention in The Guardian.

For a full biography and further information about Lucy, head to her website:

lucyfarrimondmusic.co.uk

Photo: @Ianthe’sPhotography

Instagram: @studiesofasoprano_

Linktree: https://linktr.ee/lucyfarrimond_soprano