Mezzo-soprano Rosie Middleton specialises in new music. In 2019 Rosie was artist in residence at Snape Maltings and The Banff Centre, where she collaborated with composers Laura Bowler, Catherine Kontz, Esin Gunduz and Michael Betteridge on Voice(less) – a series of works for voice and electronics exploring voice-loss, voicelessness and things that stop speech or sound. Her work is supported by Arts Council England, Help Musicians, The Finzi Trust and The Marchus Trust.
Rosie’s 20th and 21st century core repertoire includes Pierrot Lunaire (Southbank Centre – reviewed as ‘staggeringly good’ – New Statesman), Boulez Le marteau sans maître, Berio Sequenza III and Saariaho From the Grammar of Dreams. An experienced improviser and deviser, Rosie loves working collaboratively with composers on multi-disciplinary works. She is a member of new music group Personal Clutter (personalclutter.com).
Contemporary opera work includes Alice’s Adventures in Wonderland at the Royal Opera House Linbury Theatre, and Catherine Kontz A Certain Sense of Order (UK and Luxembourg), and Alex Mills A Father is looking for his Daughter. As co-founder of Anglo-Icelandic new music group Aequitas Collective, Rosie helped develop and tour Michael Betteridge’s #echochamber (Reykjavik/UK tour) in 2018. She workshopped Robert Reid Allan’s Bermondsey 1983 at Snape Maltings in July 2019.
Highlights of 2020 include Laura Bowler’s Gold with Riot Ensemble, a Somerset House Residency with Catherine Kontz on 12 Hours – an endurance piece for voice and electronics, and being awarded second place in the nonclassical Battle of the Bands. She will premiere a new work by Mira Calix as part of the Voice(less) series later this year. Rosie was recently cast in the Royal Opera House’s upcoming (now cancelled) production of Matt Rodgers She Described it to Death.
Future engagements include Ed Nesbitt’s Antigone with the East London Music Group and Jamie Hamilton’s Versionland with Phaedra Ensemble.
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