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Luke Sinclair

Sali

Luke Sinclair grew up in Oxfordshire and studied at the Alexander Gibson Opera School at the Royal Conservatoire of Scotland.

Recent operatic roles include Rodolfo (Szene 12 Oper, Dresden and Edinburgh Grand Opera), Tebaldo i Capuleti e i Montecchi (Buxton Festival ), Dancairo (Scottish Opera), Chevalier de la Force Dialogues des carmélites (Scottish Ballet - Workshop), Fenton Sir John in Love, Le Mari Les Mamelles de Tirésias (RCS), Don José (Fife Opera), Jupiter Il ritorno d’Ulisse and 1st Priest Die Zauberflöte (RCS), Blues Singer Paul Bunyan (British Youth Opera), Lysander A Midsummer Night's Dream (Co-Opera Co) and Don Ottavio Don Giovanni (Bristol Operatic Society).

Tenor soloist in oratorio and concert include Mahler's Das Lied von der Erde (Mahler Players - Eden Court, Inverness), as an Apostle in Elgar's The Apostles (Edinburgh Festival - Usher Hall), Beethoven's 9th Symphony (Aberdeen Chamber Orchestra), Bach Christ in lag Todesbanden (Strathendrick Singers), Haydn’s Seven Last Words of Christ and Goodall’s Requiem (Portaferry Proms, Belfast), Rossini’s Stabat Mater (Ayr Town Hall), Schumann’s Requiem, Haydn’s Heiligmesse and Mendelssohn’s Elijah (St. George’s Bristol), Mozart’s Requiem (St. John’s Tisbury), Mozart’s C Minor Mass (St. Mary’s Cathedral) and Messiah (Perth Cathedral).

Luke was recently a major prize-winner at the Kammeroper Schloss Rheinsberg International Singing Competition and sang the tenor lead ‘Julian’ in the World Première of  Marc Aurel-Floros' Adriana at the International Opera Festival in Rheinsberg Germany last summer to excellent international reviews. He was also Highly Commended in the final of the Ye Cronies' Opera Award.

Future engagements include Gérald in a touring production of Lakmé for Swansea City Opera and Malcolm in  Macbeth at Buxton Festival Opera. On the Oratorio and concert platform he will be the tenor soloist for Puccini's Messa di Gloria and Puccini gala (Perth Concert Hall), Rossini's Stabat Mater (Cumbria Rural Choirs) and will give a recital of Mahler and Strauss song at Merchant House, Glasgow as part of the Westbourne Music Festival.


Kirsty Taylor-Stokes

Vrenchen

Kirsty Taylor-Stokes is a graduate of The Royal Academy of Music and Birmingham Conservatoire. The youngest in her year at Birmingham, Kirsty became the highest marked Bmus Vocal student in a performance, gaining the only First Class award for a final recital, graduating with Honours in 2005. Upon completion of her MA at The Royal Academy of Music, Kirsty then went on to set another record, becoming the first person to be awarded a mark of 100% for a masters recital. Consequently Kirsty was award a DipRam alongside her Masters for “an exceptional performance in a recital”.

Kirsty made her professional operatic début in 2012 as Cockerel in Melly Still's production of Janácek’s Cunning Little Vixen, under the baton of Vladimir Jurowski. Since then Kirsty has covered the roles of First Nymph Rusalka and Female Chorus The Rape of Lucretia (Glyndebourne). In 2014 she made her European début with Rome Opera.

Kirsty's repertoire as a concert soloist  includes Verdi, Brahms and Mozart Requiems and Messiah. Kirsty is also an experienced recitalist, with a varied repertoire of music, but with noted performances of Debussy’s Ariettes oubliées, concerts of traditional folk songs and Strauss’s Vier Letzte Lieder.  

Kirsty continues her studies with Mezzo-Soprano Anne Howells. She expresses her gratitude to The Josephine Baker Trust and The Marjorie & Dorothy Whyte Memorial Fund for their support.


Ian Beadle

The Dark Fiddler

Ian Beadle was born in Hertfordshire. He is a graduate of the Guildhall School of Music and Drama, where he obtained a BMus (Hons) degree. He continued onto the Guildhall Artist Masters, as a scholar, under Professor John Evans. During 2012/13, he completed a year on the ENO’s Opera Works programme. One of the highlights of this year was performing as part of The Big Barber Bash in the London Coliseum.

At GSMD he was part of a dramatised song project directed by Iain Burnside, Lads in their hundreds, which was performed in the Theatro Technis, London and the Ludlow English song festival. This led to him singing live on BBC Radio 3’s In Tune programme. Ian also performed with Graham Johnson in an evening Lecture Recital of Winterreise as part of his Series Cycles in Tandem at the Guildhall School.

Operatic experience includes Des Grieux Le portrait de Manon, Belcore and William Dale Silent Night (Wexford Festival Opera), Marco Gianni Schicchi, Quinault Adriana Lecouvreur, Jake Wallace La fanciulla del West (Opera Holland Park) as well as Imperial Commissioner Madama Butterfly and Guccio Gianni Schicchi on the Christine Collins’ Young Artist Programme at Opera Holland Park; Valentin (Winterbourne Opera), Crébillon La rondine (Go Opera), Leporello (Sinfonia D’amici), Morales (Co-Opera Co), including a tour of the UK; Pish-Tush (Charles Court Opera) and Aminta Euridice for British Youth Opera. He performed the title role of Billy Budd, Publio La clemenza di Tito and Monsieur de Brétigny in Massenet’s Manon (GSMD opera associate scenes).

Last year, he sang Bass soloist in Messiah at the Iturbi Hall, Palau de la Música, Valencia, with the Orquesta de Valencia conducted by Stefan Bevier. Concert experience also includes, Baritone/Bass soloist in Puccini’s Messa di Gloria, Verdi’s Requiem as part of the GSMD chorus under Maestro Paolo Uomi and Belshazzar’s Feast under Martyn Brabbins, both at the Barbican Centre

Recent engagements have included Des Grieux Le portrait de Manon for Wexford Festival Opera and the title role Le nozze di Figaro for Opera Brava.

Rob Gildon

Mainz

Robert Gildon studied at Manhattan School of Music in New York for three years,  singing the lead role in John Casken's Golem and Amantio in Gianni Schicchi.

His operatic roles include Villon in Ezra Pound’s Le Testament de Villon (London Contemporay Music Festival), Dick in Luke Styles’ new opera Unborn in America (Vaults Festival), Compère in The Answer to Everything (Streetwise Opera at the BFI), Head Fox in Outfoxed (RFH), Starvelling A Midsummer Night’s Dream, Jailer and Don Andres in Offenbach’s La Perichole (Garsington Opera), premières of one man opera they came back (Tête à Tête) and Dr Quimpugh in Dr Quimpugh’s Compedium of Peculiar Afflictions  (Summerhall Edinburgh and London) - both composed by Martin Ward, Mr Lindquist A Little Night Music and Ariadne auf Naxos (West Green Opera), Gluck/Bertoni double bill (Bampton Classical Opera), Frank in Die Fledermaus (St John Smith Square), Schaunard and Falke (Celebrate Voice Festival), La Celestina (Opera Erratica/ Metropolitan Museum of Art), Atalanta (Cambridge Handel Opera).

In 2016, Divine Comedies (Bampton Classical Opera), a project on Eugene Onegin (Garsington Opera ‘Opera for All’), Sacristan (Grimeborn and Celebrate Voice Festivals), Schaunard (Regents Opera), soloist in All Together Opera (ROH) and educational projects for ENO, Classical Opera Company, Streetwise Opera in Japan, Aldeburgh Music Abu Dhabi. Concert engagements include Bach ’St John Passion’, Brahms Requiem and Rossini Stabat Mater.

Other opera engagements include Cecil in The Cumnor Affair (Tête à Tête), Wigmaker Ariadne auf Naxos and King Heart in a Box (Garsington Opera), Forester The Cunning Little Vixen (Garsington Opera Education), Journalist in Jonathan Dove’s TV opera Man on the Moon (Channel 4), Ashmodeus in Dove’s Tobias and the Angel and Touchstone in Scott Stroman’s As You Like It (Union Chapel) Papageno, Masetto, Baron Douphol, Schaunard, and Bogdanovitch The Merry Widow with Yvonne Kenny (all Opera Project), Pirate King, Giuseppe and Sir Despard Murgatroyd (Opera della Luna), John Wilkes Booth in Sondheim’s Assassins and Joe in Styne/Merrill’s Sugar (Pimlico Opera Prison Project), Pizarro (Opera Minima), Maugiron in Chabrier’s Le Roi malgré lui (Grange Park Opera) and Aeneas in Purcell’s Dido (Bruges Early Music Festival).

Geoffrey Moses was born in Abercynon, South Wales. He completed his vocal studies at the GSMD with Otakar Kraus and Peter Harrison.

He has sung with all the major British opera companies. With the Royal Opera his roles include Lindorf Les contes d’Hoffmann, Cleomer Esclarmonde, Foltz and Schwartz Die Meistersinger von Nürnberg, Pistol, Montano Otello, Nikitich Boris Godunov, 5th Jew Salome, Monk Les Huguenots, Commendatore, Tobias Micha The Bartered Bride and 7th Meister and Masdrucht Palestrina. Roles with WNO include Seneca L’Incoronazione di Poppea, Basilio, Moser I Masnadieri, Sparafucile, Colline, Sarastro, Nourabad Les pêcheurs de perles, King Mark Tristan und Isolde, Fotis The Greek Passion, Angelotti, Giorgio I puritani, Spirit Messenger Die Frau ohne Schatten, Radcliff Billy Budd, Rodolfo La sonnambula, Gremin, Bartolo, Lodovico Otello, Zuniga, Pistol (also in Tokyo, Milan, New York and Paris), Raimondo Lucia di Lammermoor, Zaccaria Nabucco and Méphistophélès Faust. His repertoire includes Lamoral Arabella, Starveling and Snug A Midsummer Night’s Dream, Neptune Idomeneo, Pietro Simon Boccanegra, Major Domo Capriccio and Hobson Peter Grimes for Glyndebourne Festival, Basilio, Commendatore, Gremin, Fiesco Simon Boccanegra and Peter The Last Supper (GTO), Sarastro, Gremin, Bonze and Crespel Les contes d’Hoffmann (Opera North), Basilio, Ferrando Il trovatore, Professor Miller A Friend of the People  (Scottish Opera) and Cecco Cel Veccio Rienzi, Venice and Angelotti and Méphistophélès (ENO), Gremin (ETO), Ferrando Il trovatore (Holland Park), Zuniga and Fasolt for (Longborough), Siroco L’Étoile (NSO).

Engagements abroad include Seneca L’incoronazione di Poppea (Stadttheater Klagenfurt), Basilio and Colline (Hamburg), Crespel and Pietro (Brussels), 1st Nazarene Salome (Amsterdam), Rodolfo La sonnambula (Nancy), Walton I puritani (Deutsche Oper), Peter in the world première of Harrison Birtwistle’s The Last Supper (Deutsche Staatsoper), Hobson (Strasbourg), Collatinus The Rape Of Lucretia (Seville), Rocco (Dublin), Ferrando Il trovatore, Raimondo Lucia di Lammermoor and Nourabad (Dublin), Cecco Cel Veccio Rienzi and Snug (La Fenice). Concert engagements include Verdi Requiem in Berlin, Damnation de Faust in Frankfurt with Sir Georg Solti, Rossini Stabat Mater and Petite Messe Solennelle, Acis & Galatea, Messiah, Beethoven 9th Symphony and Missa Solemnis, Dvořák Te Deum, Mozart Requiem and Elgar Dream of Gerontius.

Recordings include Fotis The Greek Passion with Sir Charles Mackerras, Ceprano Rigoletto with both Giuseppe Sinopoli and Carlo Rizzi, Helmsman Tristan und Isolde with Sir Reginald Goodall  and Micha The Bartered Bride With Sir Charles Mackerras.

Engagements in the 2016/17 season include King Marke Tristan und Isolde (Longborough Festival Opera) and covering Duke of Venice The Merchant of Venice and Banquo (Welsh National Opera).



Geoffrey Moses

Marti

Lee Reynolds

conductor

Lee Reynolds conductor As part of a long relationship with the LSO, Lee has conducted recording sessions at all of the major London studios, and performances at the Barbican, LSO St Luke's and the Berlin Philharmonie. His 2015 recording of Chopin Piano Concerto No 2 with Adolfo Barabino was lauded in the international press, and his recording with Joshua Bell of Theodora (a new work by American composer J. Ralph) has recently been released. He has worked as Second Conductor with Daniel Harding and Michael Tilson Thomas, and has deputised for Valery Gergiev. He worked with the LSO in 2016 for recordings of Russian, Italian and Polish classical works.

2017-18 projects include working with English National Opera in performances around the country of extracts from Don Giovanni,Tosca, Partenope and The Mikado, a gala concert of Tchaikovsky, Verdi and Puccini arias for Garsington Opera, a live televised performance in Warsaw of a new cantata by Polish composer Michał Lorenc, working with English Touring Opera on their staged production of St John Passion, and at Glyndebourne in 2017, Lee will conduct the new mainstage commission, Belongings by Composer in Residence, Lewis Murphy.

At Glyndebourne, Lee worked with Andrès Orozco-Estrada on Don Giovanni in the 2014 Festival, going on to conduct the world première performances of Tycho's Dream, by their composer in residence, Luke Styles, combining professional soloists with Glyndebourne Youth Opera. Lee has conducted Glyndebourne's commission, Captain Blood's Revenge by Lynne Plowman, premièring in May 2013 and on the subsequent Glyndebourne Tour. Lee was part of the team to win the RPS Award for Learning and Participation for Imago. As Music Director of Glyndebourne Youth Opera, Lee worked as Assistant Conductor and Chorus Master for their 2016 production of another new commission: Nothing, by David Bruce. In recognition for his work with voices, Lee received an award from the Arts Foundation in 2015 for Choral Conducting.

As an orchestrator, Lee's work has been recorded at Abbey Road, and performed at venues around the world by the LSO, the LPO, the National Youth Orchestra, the Mitteldeutscher Rundfunk, and the Gstaad Festival Orchestra, by conductors including Valery Gergiev, Vladimir Jurowski, Kristjan Järvi and Daniel Harding. Lee's sleeve notes appear in the LSO Live release of Fauré Requiem.

Lee believes strongly in making classical music available to everyone, and formed the Kantanti Ensemble in 2009 to create a reach-out-and-touch approach to orchestral performance. Giving at least eight concerts a year, the young professionals of the orchestra are joined by emerging and established soloists in a wide range of repertoire, gaining packed houses and rave reviews.


Susannah Waters, director is a resident of Lewes. She trained at the GSMD and the National Opera Studio (under the sponsorship of Glyndebourne), after which she worked as a singer for ten years. She made her New York debut early in her career as Belinda in Dido and Æneas at Symphony Space (for I Cantori di New York and The New Opera Theatre), a production that toured to New Orleans. She went on to appear with Glyndebourne Festival Opera as First Niece Peter Grimes, Cherubino le nozze di Figaro and Papagena (GTO), Welsh National Opera, Scottish Opera, the Royal Opera (Covent Garden), Santa Fe Opera, Los Angeles Opera, Seattle Opera, New York City Opera (Xerxes, 1997), Canadian Opera Company, Théâtre du Châtelet, and the Royal Swedish Opera (Drottningholm).

Her discography includes Purcell's King Arthur (conducted by William Christie, 1995) and Dido and Æneas (led by Martin Pearlman, 1996), as well as Pauline Viardot’s Cendrillon (2000).

In 2001 she gave up singing to become a writer and director. She has published two novels Long Gone Anybody (2004) and Cold Comfort (2006) and regularly mentors young novelists with The Literary Consultancy, as well as teaching creative writing.  

At Glyndebourne, she was Assistant Director, Euryanthe (Director, Richard Jones), 2003. From 2003-2011, she ran her own production company, The Paddock, with which she produced and directed plays, dance work and opera, including the world premiere of Orlando Gough and Stephen Plaice's community opera, The Finnish Prisoner.

In 2013 she directed a new opera, Imago, by Orlando Gough and Stephen Plaice, at Glyndebourne, Chabrier’s L’Etoile for NSO, and Harrison Birtwistle’s Down by the Greenwood Side for the 2014 Brighton Festival. In 2015, she was commissioned by the Brighton Festival to create a new show around the subject of gender called Being Both, with the singer Alice Coote, and the English Concert Orchestra, led by Harry Bicket, which was then performed in a scaled-down version at the Royal Albert Hall as part of the BBC Proms. In the autumn of 2015, she directed La Liberazione di Ruggiero by Francesca Caccini, for the Brighton Early Music Festival, a production which was selected as one of The Guardian critic Tim Ashley’s Top Ten Classical Music performances of 2015. Mr Ashley also selected for his Top Ten the performance of Zaza, by Leoncavallo, given by Opera Rara, which Susannah semi-staged at the Barbican in November.


Susannah Waters

director

Anna Driftmier

designer

Anna Driftmier designer is a theatre designer and scenographer who works across the USA and Europe. She actively collaborates with a wide range of artists and her work extends across opera, theatre, film, performance art and installation art.

She holds an MA in Performance Design and Practise from Central Saint Martins and a Technical Theatre Diploma from the Guildhall School of Music & Drama. She received a BA in Classics and Theatre from Mount Holyoke College. While there she received the Margaret Davis Stitt Prize for Excellence in Theatre.

As an assistant she has worked with The Whitney Museum of American Art, Punchdrunk, Bristol Old Vic, Trafalgar Studios 2, Southwark Playhouse, and Theatre503.

Opera design includes: Dust Child (English Touring Opera); The Dowager's Oyster (Grimeborn); Seven Velvet Suites (BasicSpace); East O' the Sun West O' the Moon (Tête à Tête), Transfigured Night (Guildhall School of Music & Drama).

Theatre design includes: Trident Moon (Finborough Theatre), Radioman (Old Red Lion Theatre); The Taming of the Shrew (Above the Arts); Valkyrie (Waterloo Vaults); The Legacy (Hope Theatre); Arden Creatures (Cockpit Theatre); Uncommon Women and Others (Rooke Theatre).

Film design includes: November, Nation Down.


Jai Morjaria

Lighting designer

Jai Morgaria lighting designer grew up in North London. His technical theatre training began at Uxbridge College, where he studied for a BTEC in Production Arts. He trained at the Royal Academy of Dramatic Art (RADA) on the BA Technical Theatre and Stage Management course, specialising in Lighting Design and Stage Electrics. 

His professional career began at the age of 18, whilst he was at college, as a Follow spot in London's West End. Later he decided to pursue studying at a higher level to help further his career as a Lighting Designer.

Jai has freelanced as a Lighting Designer for the past 3 years and has worked with numerous directors and companies. He also works as a Production Electrican/Technican.

His lighting designs have included: Tonight At The Museum Charlie Chaplin! (Cinema Museum) for Can of Worms; Here's Hoping (Margate Theatre Royal/ Oval House) for Accidental Collective; Tis Pity She's A Whore (Tristan Bates Theatre) for Lazarus Theatre; Macbeth (Valley of the Rocks, Exmoor) for Pleasure Dome Theatre; The Bright and Bold Design (New Diorama Theatre) for Drama Studio London;  The Beggar's Opera (Jerwood Vanbrugh Theatre) for RADA; Cancel The Sunshine (The Hope Theatre) for Fount Productions; Pains of Youth (George Bernard Shaw Theatre) for RADA; Opera Scenes (Drill Hall) for Royal Academy of Music; Complicite Young Company (Hackney Downs Studio) for Complicite/ IdeaTap.

Jai was winner of the Association of Lighting Designer's ETC Award 2016 and the Lilian Baylis Award for RADA 2014. He was nominated for Off West End Award 'Best Lighting Designer' 2016.