Eleanor Dennis


Scottish soprano Eleanor Dennis is a recent graduate of the Royal College of Music and is a Harewood Young Artist at the English National Opera.

In the 2014/15 season she will sing Contessa Le nozze de Figaro and Micaela Carmen at the English National Opera and her appearances on the concert platform will include Elgar's Une Voix dans le Désert with the CBSO and Andris Nelsons, Beethoven's Egmont with the BBC Philharmonic and Juanjo Mena and Strauss' Vier Letzte Lieder with the Royal Philharmonic Orchestra and Martyn Brabbins.

Her appearances at the London Handel Festival first brought her to prominence, and it was in the title role of Rodelinda in March 2011 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 in Riccardo Primo prompting Hugh Canning to call her 'a big talent' and, in 2013, she returned to the Festival to sing Oresia in a concert performance of Telemann's Orpheus with  Ian Page and Classical Opera (of which she is an Associate Artist).

Other notable appearances have included Ginevra Ariodante at the Salzburger Landestheater, Erste Dame Die Zauberflöte at the English National Opera and at the Drottingholms Slottsteater and Liù Turandot in concert for Scottish Opera.  Highlights on the concert platform have included the BBC Scottish Symphony Orchestra with Ilan Volkov, the London Philharmonic Orchestra with Vladimir Jurowski and the Swedish Radio Orchestra with Daniel Harding.

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

Missa Solemnis

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

Une Voix dans le Désert


St. Cecilia Mass

Alessandro (Lisaura)
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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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