Current and future engagements for Rhian Lois include ADINA The Elixir of Love English National Opera, MAID Adès’s Powder Her Face Semperoper Dresden, JO ANN in Tippett’s New Year BBC Scottish Symphony Orchestra commercial recording release (NMC), Mozart Requiem Royal Festival Hall and MacMillan’s Christmas Oratorio Royal Scottish National Orchestra.
Most recent engagements include GRETEL Hänsel und Gretel Hamburg State Opera, JANINE/OFWARREN The Handmaid’s Tale ENO, ANGELICA in Elena Langer’s Figaro Gets a Divorce Theatre Magdeburg and Grand Théâtre de Genève, JERUSHA The Intelligence Park Royal Opera House (Linbury Theatre), MAX Where The Wild Things Are Alexandra Palace, London and the Mariinsky Theatre, GOVERNESS The Turn of the Screw filmed Opera Glassworks conducted by John Wilson, GRETEL Hansel and Gretel and MUSETTA La bohème Scottish Opera, ORIANA Amadigi Garsington Opera, NANETTA Falstaff Grange Festival, ZERLINA Don Giovanni Santa Fe Opera and ADELE Die Fledermaus Welsh National Opera.
Her previous appearances at English National Opera also include VALENCIENNE The Merry Widow, SUSANNA Le Nozze di Figaro, ADELE Die Fledermaus, NERIS Medea, ATALANTA Xerxes, GOVERNESS The Turn of the Screw, MUSETTA La bohème, JULIETTE Die Tote Stadt, FRASQUITA Carmen, YOUNG WOMAN Between Worlds, FIRST NIECE Peter Grimes, PAPAGENA Die Zauberflöte and YVETTE The Passenger. She has also sung PAPAGENA Die Zauberflöte Royal Opera House, Covent Garden, PAMINA Die Zauberflöte Nevill Holt and EURYDICE in Telemann’s Orpheus London Handel Festival.
In concert Rhian has most recently performed Faure Requiem and Stanford Te Deum and Elegiac Ode BBC National Orchestra of Wales, and at venues such as the International Enescu Festival and Royal Festival Hall where she performed with Kings College Cambridge Choir, Philharmonia Orchestra. She has also performed Mozart’s Requiem and Handel’s Messiah with the City of Birmingham Symphony Orchestra and Simon Halsey, CBSO‘s Stravinsky retrospective Igor Fest, Brahms’s Requiem at Milton Court, Barbican, Handel’s Messiah in Cambridge; Carmina Burana at the Brangwyn Hall; a concert of Mozart Masterpieces at the Royal Festival Hall; and a performance of Mendelssohn’s Incidental music to A Midsummer Night’s Dream with Edward Gardner and CBSO recorded by Chandos.
Emma Ventris
Mobile: + 44 (0) 7780315176
Email: emma@atholestill.co.uk
Representation: Worldwide
News | Rhian Lois
News | Lee Reynolds, Rhian Lois, Edward Grint
"Rhian Lois as Adina has one of those even-toned, buttery voices that you immediately warm to. She has a full and creamy top with a secure chest register. Her florid runs are negotiated with agility and assurance, for example when she recounts to Dulcamara her many previous suitors (“The elixir’s in my eyes”). No wonder Nemorino finds her so lovely and beguiling."
Opera Today
"The star of the night is former ENO Harewood artist Rhian Lois as Adina, delectably flirtatious and in wondrous control of a soprano voice that deftly spins a web of notes in mid-air, and, if the music or text demands it, can spin every one at a different gauge. It's a delectable performance."
Culture Whisper
"Glorious performances from Rhian Lois..............Both Lois and Atkins were stylish and engaging in the ornamental passages, each able to spin a fine line. Lois brought a perky charm to her music which gave this Adina real personality....they struck sparks off each other in just the right way....and we really did invest in their characters."
Planet Hugill
"Lois charms and commands as Adina, her vocal agility matched by a brilliant, diamantine tone and her joyous embrace of melodrama"
Bachtrack
"Rhian Lois's Adina is the glamorous lady of the manor.....with a blaze in her tone and superbly expressive coloratura."
The Guardian
"The soprano Rhian Lois is a winning Susanna. She’s full of wit, and her voice is crystalline and warm."
The Times
"Rhian Lois is a delightful discovery as a feisty, Welsh-accented Adele, and she sings the Laughing Song in a light, bright style."
The Times
"Rhian Lois, whose captivating performance as Romilda’s sister, Atlanta, caught perfectly the character’s scheming sauciness as well as the lonely desperation cloaked beneath it"
Guardian
"Rhian Lois is heart-rending as Janine/Ofwarren, losing her mind step by step and, after her baby is taken from her, ending up as a loose-haired Ophelia crumbling flowers before being shot"
The Arts Desk
"Janine/Ofwarren is a more sympathetic figure in the opera, and Rhian Lois conveys her disintegration, from prideful pregnancy to mental dissolution upon the death of her baby, with distressing credibility"
Opera Today
"The core of energy at the heart of The Dead City explodes via an ensemble of regular company talent who inhabit the surreal logic of dreams...Rhian Lois..."
Bachtrack
"The theatrical troupe with whom Marie works and plays are vibrantly characterised by Rhian Lois (Juliette)..."
Opera Today
"Rhian Lois is a bright, sparky Oriana, and their Act 3 duet is a poignant highlight of the score"
The Telegraph
"Soprano Rhian Lois’s Oriana is light and appealing"
The Times
"A pretty flawless cast starts with Rhian Lois’s girlish Governess — performing
womanhood cautiously, self-consciously, control always on the edge of collapse..."
The Spectator
"All six singers are first-rate. Rhian Lois’s Governess, with her pretty youthfulness and pristine light lyric soprano, looks at first as if butter wouldn’t melt..."
The Arts Desk
"Rhian Lois’s fragile Governess confides straight to camera, but we also see
stagehands and camera operators going about their business."
The Times
"Rhian Lois’ Governess was lustrously voiced and compellingly musical, treading a fine line between innocence and experience with a careful control of timbre. Her characterization treads a fine line between naivety and worry...Her scenes with Miles, where she finds herself wrong-footed, are electric. As the opera whispers to its terrible close, Lois was truly pathetic and chilling."
Operawire.com
"Rhian Lois, the best thing about the company’s La bohème last autumn, is a gentle, sweet-voiced Gretel..."
Bachtrack
"..All three are nearly upstaged by Rhian Lois’s star turn as Musetta, who’s radiant act II aria provides the evenings biggest adrenaline rush"
The Times
"Rhian Lois was cheerfully over the top as the mercenary Musetta"
Arts Desk
"As her gossiping, smugly commenting and brutally erotic antagonist, soprano Rhian Lois mixes up the action with breathtaking vocal brilliance."
Dresdner Neueste Nachrichten
"The Welsh soprano Rhian Lois thrilled in the diverse roles not only with great playful versatility and emotional breadth, but also with her brilliant, radiant singing in every register. Her soprano mastered the almost acrobatic vocal demands with seemingly playful ease when she let her glittering coloratura bubble as the Duke's lover and as a gossip reporter."
Der Opernfreund
