Eleanor Dennis


Scottish soprano Eleanor Dennis is a graduate of the Royal College of Music’s International Opera School and is a Harewood Artist at the English National Opera.

Highlights in her 2015/16 season include Brahms’
Ein Deutsches Requiem with the CBSO and Andrew Manze, Beethoven's Christus am Ölberge with the Bamberger Symphoniker and Rolf Beck, Beethoven's Missa Solemnis with the RTÉ National Symphony Orchestra of Ireland and Cristian Macelaru, Britten’s Spring Symphony with the Vienna Radio Symphony Orchestra and Cornelius Meister, Elijah at the Three Choirs Festival and Haydn’s Harmoniemesse with the Oxford Philharmonic Orchestra and Sir András Schiff.

Recent highlights have included Contessa Le nozze di Figaro and Micaela Carmen at the English National Opera and, on the concert platform, Elgar's Une Voix dans le Désert with the CBSO and Andris Nelsons, Beethoven's Egmont with the BBC Philharmonic and Juanjo Mena, Beethoven’s Missa Solemnis at the Three Choirs Festival and Strauss' Vier Letzte Lieder with the Royal Philharmonic Orchestra and Martyn Brabbins.  She has also appeared with the BBC Scottish Symphony Orchestra and Ilan Volkov, the London Philharmonic Orchestra with Vladimir Jurowski,
the Early Opera Company with Christian Curnyn and the Swedish Radio Orchestra with Daniel Harding.

Her appearances at the London Handel Festival first brought her to prominence, and it was in the title role of
Rodelinda that she made her first major break-through.  The critics were unanimous in their praise.  Fiona Maddocks, reviewing her performance in The Observer, wrote 'she has a marvellous future. I'm not sure I can ever remember one who so obviously deserves to be a star'.  In the 2012 Festival she appeared as Costanza Riccardo Primo prompting Hugh Canning to call her 'a big talent' and, in 2013, she returned to the Festival to sing Oresia in a performance of Telemann's Orpheus with Ian Page and Classical Opera (of which she is an Associate Artist).

Please contact Keiron Cooke for an up-to-date biography.

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Cantata: Lobet Gott in seinen Reichen (BWV 11)
Cantata: Ich hatte viel Bekümmernis (BWV 21)
Mass in B Minor
Mass in G Major

Christus am Ölberge
Mass in C
Missa Solemnis
Symphony no. 9

West Side Story (Maria)

Carmen (Micaëla)

A Midsummer Night's Dream (Helena)
On This Island
A Spring Symphony
The Turn of the Screw (Governess)

Te Deum

Te Deum
Stabat Mater

The Canterbury Pilgrims

The Kingdom
Une Voix dans le Désert


St. Cecilia Mass

Acis & Galatea (Galatea)
Alessandro (Lisaura)
Alexander's Feast
Ariodante (Ginevra)
Dixit Dominus
Il Pastor Fido (Amarilli)
Rodelinda (Rodelinda)
Xerxes (Romilda)

Nelson Mass
Scena di Berenice

The Cunning Little Vixen (Fox)

Symphony no. 2


Coronation Mass
Così fan tutte (Fiordiligi)
Exsultate Jubilate
Le nozze di Figaro (Contessa)
Lucio Silla (Lucio Cinna) 
Mass in C Minor (soprano 1 & 2)

Orpheus in the Underworld (Diana)


La bohème (Musetta)
Turandot (Liù)

Dido & Aeneas (Belinda)
O Come Ye Sons of Art

Petite messe solennelle

Quartet no. 2

Mass in G

Die Fledermaus (Rosalinde)

Vier Letzte Lieder

The Mikado (Yum-Yum)
The Pirates of Penzance (Mabel)


Die Meistersinger von Nürnberg (Eva)

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Sheldonian Theatre, OXFORD

SCHUBERT Symphony No.5
BEETHOVEN Piano Concerto No.2
HAYDN 'Harmoniemesse'


Mezzo-soprano-Anna Huntley

Oxford Philharmonic Orchestra

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Missa Solemnis

Three Choirs Festival

Soprano Eleanor Dennis has a strong voice and she proved fully equipped for the Leonora-like demands of her role. Her voice is easily produced, with attractively rounded tone and no trace of shrillness at the top, and she coped with the demanding, high tessitura imperiously.  John Quinn, Seen and Heard International, 31 July 2015



English National Opera

Eleanor Dennis sings the role [of Micaëla] with considerable distinction.
Martin Kettle, The Guardian, 21 May 2015
Limpid soprano Eleanor Dennis easily transcends her dowdy costume as Micaëla. Mark Valencia, What's on Stage, 21 May 2015
Micaëla is projected by Eleanor Dennis: a tough cookie if not actually a tart. Barry Millington, Evening Standard, 21 May 2015
...the excellent Eleanor Dennis’s beautifully sung, interestingly forward and knowing Micaëla. Peter Reed, Classical Source, 20 May 2015
Eleanor Dennis’ handbag wielding, selfie-snapping Micaëla proved herself every inch as strong as Carmen in her attempt to win back José...She coped admirably with her difficult aria, displaying a soprano with plenty of colour. Mark Pullinger, Bachtrack, 21 May 2015
ENO Harewood Artist, Eleanor Dennis as the more wholesome girl, Micaëla sings lusciously with sweet sorrow in ‘Je dis que rien ne m’épouvante’ in Act III. Mary Nguyen, Culture Vulture, May 2015
Eleanor Dennis is superb as an unusually bold Micaela.  Claire Colvin, The Daily Express, 24 May 2015
Eleanor Dennis was convincing in her portrayal and made a touching Micaëla...her duet with Eric Cutler’s Don Jose was finely done, with moments of humour [and she] rose to fine heights in Micaëla’s Act 3 solo.
Robert Hugill, Opera Today, 22 May 2015
Eleanor Dennis’s revisionist Micäela did not lack for sweetness of tone, especially during her third-act aria. Mark Berry, Scene and Heard, 01 June 2015
Eleanor Dennis projected an unorthodox Micaëla with great gusto...there was no denying her musicianship or range of tonal beauty. Roger Parker, Opera, August 2015



London Handel Festival

Orasia must have represented to 18th-century audiences roughly what the Queen of the Night signifies to subsequent generations of opera-goers. Eleanor Dennis gave a performance that was powerful, magnificent and terrifying; she gave all the signs that Orasia is only to be crossed at one’s peril. Not the least part of her achievement was her secure handling of the virtuoso lines and the stratospheric notes which Telemann calls for at the most dramatic moments. Curtis Rogers, Classical Source, 18 March 2013
Eleanor Dennis's firebreathing Orasia... Tim Ashley, The Guardian, 20 March 2013

Vaughan Williams

A Pilgrim's Progress

English National Opera

Dennis in particular makes a memorable ENO debut. Showcased over the past few years in Royal College of Music productions, here the powerful young soprano comes of age, showing just how far she has outgrown the chamber space of the Britten Theatre. Surely we will be seeing much more of her in future.

Alexandra Coghlan, The Arts Desk, 06 November 2012
Eleanor Dennis's full-throated Voice of a Bird stands out among the multiplicity of supporting roles. Anna Picard, Independent on Sunday, 11 November 2012
The trio of ‘Shining Ones’ in the House Beautiful introduced a trio of promising ENO debuts: Aoife O’Sullivan, Eleanor Dennis and Kitty Whately all in fine voice... Mark Pullinger, Opera Britannia, 06 November 2012


Riccardo Primo

London Handel Festival

Dennis, who reminds me of the young Anne Evans, is clearly a big talent, headed for ENO next season. Hugh Canning, Opera, June 2012
Festival-goers will be delighted at the return of Eleanor Dennis as Costanza, whose tone only seems to grow in colour and depth. Alexandra Coghlan, The Arts Desk, 28 March 2012
Eleanor Dennis, whom I heard in last year’s London Handel Festival 'Rodelinda', is vocally mature with secure top notes.
Nahoko Gotoh, One Stop Arts, 29 March 2012


Lucio Silla

Classical Opera/Page at Cadogan Hall

Eleanor Dennis as Cinna well nigh sung everyone off stage in the vocal radiance, intelligence, poise and polish of her performance. Hilary Finch, The Times, 13 March 2012



London Handel Festival

Scottish soprano Eleanor Dennis singing the title role of the grief-stricken queen. Statuesque and restrained in manner, yet always expressive, she has a voice resplendent in colour, with great reserves of stamina, a rich tone, and the fexibility to deal with all the tricky coloratura Handel throws at her. If all goes to plan, she has a marvellous future. I'm not sure I can ever remember one who so obviously deserves to be a star. Fiona Maddocks, Observer, March 2011
Dennis has matured into her stage presence, delivering a performance of serious vocal class that set the curve for her colleagues. Dispatching the likes of 'Mio Caro Bene' and 'Se’l mio duol with emotive skill and silken tone, it was in the punchier coloratura of 'L’empio rigor' and the glorious 'Morrai, si' that she really showed her quality and new-found control. Alexandra Goghlan, The Arts Desk, 15 March 2011
Eleanor Dennis was impressive as Rodelinda from the very start, tragic in her opening scene of two arias, imperious in 'Morrai, si', and nobly covering all the emotional bases on her way to a joyful reunion with her husband. Her voice is powerful, characterful, dazzling in all the coloratura, and with a very attractive gleam, and she has that undoubted advantage of being tall, so she has a naturally commanding presence.
Peter Reed, Opera Magazine, May 2011
...it was clear from the start that we had a first-class soprano in the title role...Eleanor Dennis has the look and manner of a grand tradegienne.
Michael Church, Independent, March 2011
Eleanor Dennis's fluent Rodelinda rises to an exciting top register. George Hall, Guardian, March 2011
Above all, Eleanor Dennis's Rodelinda shows how a pure soprano with a sharp edge can make Handel's music speak. Richard Fairman, Financial Times, March 2011
As the grieving queen, wife and mother, Eleanor Dennis's...powerful soprano made the eardrums shake...[a] talent to watch. Geoff Brown, The Times, March 2011



Handel at Vauxhall, Vol.1

Eleanor Dennis (soprano)
Sophie Bevan (soprano)
Kirsty Hopkins (soprano)
Charles MacDougall (tenor)
Greg Tassell (tenor)
Benjamin Bevan (baritone)

London Early Opera/Bridget Cunningham
Signum Classics