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ROZANNA MADYLUS


Described as having “an engaging stage presence” (The Daily Telegraph) and giving “compelling performances, offering fluid line and gripping conviction” (Opera Magazine), a City Music Foundation Artist 2020/21, Rozanna is a graduate of The Royal Academy Opera School, where she studied with the late Anne Howells and Jonathan Papp and was the recipient of The Karaviotis Scholarship, The Sir Charles Mackerras Award and The Carr-Gregory Trust Award. She has appeared as a soloist and member of the chorus on international stages, including English National Opera, Longborough Festival Opera, The Royal Opera House, Wexford Festival Opera, Festival d’Aix-en-Provence and Garsington Opera.

Rozanna was born in Leicestershire, England, of Ukrainian descent. After completing her undergraduate degree in English Literature and Philosophy at the University of East Anglia, she decided to dedicate herself to classical singing. During her time at the Academy, she was a member of Academy Song Circle and a finalist in the prestigious Patrons’ Award. Rozanna was also awarded The Karaviotis Prize at Les Azuriales Young Artist Competition, Nice, France, in August 2012 and, in the summer of 2013, attended the Solti Accademia in Castiglione della Pescaia. Rozanna was on the Young Artist Platform at The Oxford Lieder Festival (now known as The Oxford International Song Festival) and, since then, she has been invited to perform in various concert halls around the UK and abroad, including The Wigmore Hall, The Royal Festival Hall, The Holywell Music Room, Kings Place, The Mendelssohn-Remise Berlin, the Prokofiev Hall at the Mariinsky Theatre and the St Petersburg Philharmonic.

Previous roles include Erda Siegfried (The Mahler Players), Hänsel Hänsel und Gretel (Hampstead Garden Opera), Messaggera/Speranza/Proserpina L’Orfeo (cover for Longborough Festival Opera), Lapák (Dog)/Zlatohřbítek (Fox) The Cunning Little Vixen (HGO), Gabriel/Belial in the world premiere of Bertie Baigent’s Paradise Lost, Ljubica in Ana Sokolovic’s a cappella opera, Svadba ‘A Wedding’ (Waterperry Opera Festival), Žofka in Janáček’s The Diary of One Who Disappeared (WOF), Cordelia/Fool in the world premiere of John Casken’s The Shackled King (Counterpoise), Forester’s Wife The Cunning Little Vixen (Longborough Festival Opera YAP), Rosina Il Barbiere di Siviglia (Barefoot Opera), Third Lady The Magic Flute (WOF), Prinz Orlofsky Die Fledermaus (Berlin Opera Academy), Mother Goose The Rake’s Progress (cover for Festival d’Aix-en-Provence), Second Woman/Second Witch Dido and Aeneas (Birmingham Opera Company), Jezebel in Goehr’s Naboth’s Vineyard (Melos Sinfonia), Beggar Woman in Britten’s Death in Venice (Garsington Opera), Smeraldina in Dove’s The Little Green Swallow (British Youth Opera), the title role in Handel’s Ariodante (Royal Academy Opera), Madame de la Haltière Cendrillon (RAO), Fidalma in Cimarosa’s The Secret Marriage (cover for BYO) and the title role in Ravel’s L’enfant et les sortilèges (RAO and the BBC Symphony Orchestra).

In September 2023, Rozanna was awarded the Audience Prize at the Mastersingers’ Carole Rees Awards Wagner Voice Competition and will be performing the role of Rossweisse in Wagner’s Die Walküre as well as covering the role of Erda (Das Rheingold) as part of Longborough Festival Opera’s Ring Cycle 2024. She has also recently been nominated as a finalist for the 2024 Offie (Off West End) Awards for her performance as Hänsel in HGO’s production of Humperdinck’s Hänsel und Gretel. Her first CD, performing alongside Sir John Tomlinson and Counterpoise in Kokoschka’s Doll, is available on Champs Hill records.

PRESS

  • “Then along came Erda, rising from a prone position and beautifully sung by Rozanna Madylus. She has a smooth, glorious, and calm voice…She was a class act.”

    The Mahler Players: Wagner: Siegfried Act 3, Edinburgh Music Review, December 2023

    https://www.edinburghmusicreview.com/reviews/mahler-players-wagner-23 goes here

  • “Madylus revealed the full range of colours available to her: there was sombre darkness in the lower register, but her rich mezzo glowed when it rose. She later showed that the fullness of her sound could raise the rafters, holding all in the Hall in a vocal embrace, but also that she could float a lovely high line too”

    Brünnhilde’s Dream, Wigmore Hall, Opera Today, January 2023

    https://operatoday.com/2023/01/brunnhildes-dream-an-inventive-expressive-and-impressive-sequence-by-rozanna-madylus-and-counterpoise-at-wigmore-hall/

  • “Madylus delivered with absolute commitment, her voice often shaking the rafters.”

    Brünnhilde’s Dream, Wigmore Hall, Evening Standard, January 2023

    https://www.standard.co.uk/culture/music/brunnhildes-dream-counterpoise-wigmore-hall-review-rozanna-madylus-b1056019.html

  • “Under the unflinching concert-hall lighting, Madylus gave an intense but not histrionic performance, always retaining a sense of spontaneity, and her tangy high mezzo meshed to satisfying effect with the instruments around her. Aptly, there was a salute to heroism in the incongruous but welcome encore – a song with which Madylus, who grew up in Leicester, celebrated her Ukrainian heritage.”

    Brünnhilde’s Dream, Wigmore Hall, Opera Magazine, April 2023

  • “As brother and sister Hänsel and Gretel, Rozanna Madylus and Beren Fidan are a great double act and very believable in role. Madylus’ facial expressions are a continual delight and the two spar off each other with great glee – I have seen the opera many times, and have never seen these roles in better hands! They get the innocence of youth beautifully and are always watchable.”

    Hänsel und Gretel, Hampstead Garden Opera, LondonTheatre1, November 2023

    https://www.londontheatre1.com/reviews/hansel-and-gretel-at-jackson-lane-theatre/

  • “Mezzo Rozanna Madylus sings this role with style and brings a touch of swagger to the part”

    The Cunning Little Vixen, Plays to See, November 2022

    https://playstosee.com/the-cunning-little-vixen-5/

  • “Madylus excelled as Cordelia, seeking reconciliation though with mixed feelings for her father”

    The Shackled King, Opera Magazine, October 2021

  • “Rozanna Madylus, als Prinz Orlofsky mitguteBühnenpräsenz und goldenem Mezzo.”

    Die Fledermaus, Berliner Morgenpost, July 2018

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