
Current and future engagements for Rhian Lois include OSCAR Un ballo in Maschera Opera Holland Park, MUSETTA La bohème Scottish Opera, The Grange Festival, English National Opera, Blumenmädchen Parsifal Royal Ballet and Opera, ADINA The Elixir of Love English National Opera, SOPHIE/ZERBINETTA/ZDENKA in a series of Strauss Collection concerts, and VALENCIENNE The Merry Widow Scottish Opera and Opera Holland Park, 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 BBC Symphony Orchestra and Royal Scottish National Orchestra.
Most recent engagements include GRETEL Hänsel und Gretel Hamburg State Opera, JANINE/OFWARREN The Handmaid’s Tale English National Opera, 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 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 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
"Welsh soprano Rhian Lois (a fabulous Zerbinetta in 'The Strauss Collection' in March, not to mention unforgettable soprano line in Macmillan's Christmas Oratorio with the RSNO in November 2023) was a bubbly Valentina (Valencienne in the original), Zeta's wife..... Rhian's coloratura is exquisite, blending beautifully in her arias with violin and oboe solos. A treat for the ears."
Edinburgh music review
"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
"Lois charms and commands as Adina, her vocal agility matched by a brilliant, diamantine tone and her joyous embrace of melodrama"
Bachtrack
"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
"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
"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
"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