Entertainment Views Interviews: Soprano, Eleanor Dennis

Soprano, Eleanor Dennis arrived on my radar when I attended Three Choirs Festival at Worcester Cathedral. Her voice is so exquisite that it still resonates almost a year on. Since then I’ve been keeping an eye on her career and have thus far been unable to make the requisite journeys see her on stage. However, I am delighted to be seeing her next month when she appears in Three Choirs Festival again, in Hereford. 

I’m delighted that she’s allowed me to chat to her about her career to date, so without further ado…

Thanks so much for talking to Entertainment Views, Eleanor. First of all, tell me what inspired you to pursue a career in Opera.

I grew up in a very musical household in Aberdeenshire. My parents were both involved with the Haddo House Choral and Operatic Society, who put fully staged operas on every year. They couldn’t always find a babysitter, so my brother and I usually ended up onstage in the big chorus scenes. My first operatic memory is being in the Peter Grimes opening chorus, aged about 4, and having the time of my life! From then on, opera just became the thing I loved.

Earlier this year you appeared in A Midsummer Night’s Dream with ENO, tell me about the experience and what you enjoyed most about playing the role of Helena?

I absolutely loved being involved with this production – it’s so iconic. Helena is immense fun to play – she has some glorious music to sing, and is so feisty! I really enjoyed the physical challenge presented by this particular staging, I came offstage feeling like I’d done quite a workout!

Last year I saw you perform at 3 Choirs Festival at Worcester Cathedral, what were the challenges of singing Mendelssohn’s St Paul?

St Paul is quite unusual, in that the soprano role is mostly accompanied recitative, rather than arias. This can be tricky, as in recit, you’re responsible for conveying the story to the audience. I think the main challenge for me was making sure my text and intention were clear enough to get the message of the work across to the audience.

What do you find are the main differences between performing Oratorio and Opera? Do you have a preference?

They are two very different beasts, both as dramatic as each other, but in very different ways. With opera, you can really lose yourself in a character, with the costumes, set and distance from the audience. With oratorio, it feels more intimate to me, it’s just you in front of a chorus and orchestra, creating a piece of drama, with words and music alone. I love both equally – although you do get some wonderful frocks in opera!

Eleanor Dennis with Kitty Whately in Cosi Fan Tutte at Opera Holland Park –
Photo Credit: Robert Workman

You’re currently appearing in Cosi Fan Tutte, tell me about the production and the character you’re playing. 

It’s a really beautiful period production, set in Naples in the 1790s, when the opera was written. I play Fiordiligi, one of two sisters, who have a very cruel trick played on them by their fiances… she goes through a real rollercoaster of emotions, and I’ve found it fascinating to play her. It helps that she has the most sublime music to sing!

What are your personal highlights in Cosi Fan Tutte?

My absolute favourite part of the opera is the duet Fiordiligi sings with Ferrando in act two, where she finally gives in to her feelings for him. It is so perfectly written – it conveys the tumultuous emotions so clearly. I also love singing her act two aria “per pieta” – for me, it’s Mozart’s finest soprano aria.

What are your ambitions for the future? Any roles you’re keen to play, in particular? 

I’d love to take on some of Strauss’ great heroines – Arabella, Marschallin – and maybe even dip my toe into some Wagner… All in good time, though! My favourite opera is Peter Grimes, so I’d also really like to play Ellen Orford.

Who are your favourite composers and why?

I think Mozart will always be my favourite to listen to, and to sing, he had a real understanding of the human voice. I also love Britten, for his amazing word painting, and you can’t really beat Puccini when it comes to high-emotion arias.

What’s coming up for you next?

I’m heading to Madrid next week to do Beethoven’s 9th Symphony at the Auditorio Nacional de Musica, which I’m really looking forward to. It’ll also be great to head back to ENO next season, where I’m doing 1st Lady in Magic Flute.

Cosi Fan Tutte has completed its run as we go to press, however, as you can see there are plenty of opportunities coming up to see Eleanor performing. Another great big thank you to her for a superb interview. 


A Midsummer Night’s Dream ~ Royal Shakespeare Company, Stratford upon Avon

With a fascinating take on 1940s meeting a surreal and magical world, Erica Whyman has directed a beautiful, melodic and hilarious piece of theatre. This has been by far my favourite production of Shakespeare’s tale of four lovers who’s lives are meddled with due to the mischief and desires of the fairy world.

This play has been dubbed ‘A Play for the Nation’, and with children from various schools joining each performance and performers from fourteen amateur theatre groups each taking on the roles of the mechanicals (including Bottom), this is a collaborative effort, indeed.

The set displayed a great deal of realism with a theatrical backdrop used, whereas the forest where love and mischief reigns supreme displayed an overriding theme of red symbolism. This worked well, especially coupled with the inclusion of the piano centre-piece (where Titania, and later, Bottom take their rest). Music, dance and frivolity is very much a part of the piece and it lends itself perfectly.

Oberon the Fairy King and Titania the Fairy Queen are played with subtlety yet grace and gentility by Chu Omambala and Ayesha Dharker. Their chemistry is poignant and bold, excellent chemistry is also noted between Oberon and Puck, who is the cheeky elf who enjoys wreaking havoc. Lucy Ellinson plays the role and she was outstanding, facial features that spoke a thousand words and hilarious audience interaction. The four lovers, Lysander (Jack Holden), Demetrius (Chris Nayak), Hermia (Mercy Ojelade) and Helena (Laura Riseborough) were superbly cast and each were notable for comic timing which moved appropriately to emotionally charged performances. Riseborough appeared to use her height to achieve some comic effect, whether it was deliberate or not I’m unsure, but it worked! Each actor brought out nuances that highlighted their differences and vulnerabilities simultaneously.

A huge pat on the back must go to The Bear Pit amateur theatre group who played the mechanicals. There was an invisible divide between professional and amateur performers, David Mears as Bottom was a joy to watch, this must surely be a role that he was always meant to play.

This is a must-see and comes highly recommended as a show to beg, steal or borrow ticket for, this year.

The production is going on a UK tour before finishing back at The Royal Shakespeare Theatre in July. Tickets for all performances can be purchased here and further details can also be found: https://www.rsc.org.uk/a-midsummer-nights-dream/the-plot

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