Lisa Milne


Scottish soprano Lisa Milne studied at the Royal Scottish Academy of Music and Drama.

Her recent engagements have included Mahler's Symphony no. 4 with the New York and Vienna Philharmonic Orchestras and Harding, Elijah with the Royal Scottish National Orchestra and Sir Andrew Davis, Beethoven's Symphony no. 9 at the Verbier Festival with Dutoit and also with the Budapest Festival Orchestra and Fischer; Brahms' Ein Deutsches Requiem with the BBC Scottish Symphony Orchestra and Runnicles, Fidelio with the Boston Symphony Orchestra and Levine and with the Rotterdam Philharmonic Orchestra and Gergiev, Die Schöpfung with the Berlin Philharmonic Orchestra and Rattle and Haydn's Die Sieben Letzten Worte Unseres Erlösers Am Kreuze with the London Philharmonic Orchestra and Jurowski.

Highlights on the stage include Pamina Die Zauberflöte and Susanna Le nozze di Figaro for the Metropolitan Opera; Pamina, Marzelline Fidelio, Micäela Carmen and the title roles in Rodelinda and Theodora for the Glyndebourne Festival and Countess Almaviva Le nozze di Figaro and the title role in Alcina for the English National Opera. At the Welsh National Opera she has sung Leonore Fidelio and she created the role of Sian in the world premiere of James MacMillan’s opera The Sacrifice. A regular guest at Scottish Opera, her roles for the company have included the title role in Semele, Donna Elvira Don Giovanni, Susanna, Ilia Idomeno and Adina L’Elisir d’Amore.

A renowned recitalist, she has appeared at the Aix-en-Provence and City of London Festivals; the Usher Hall in Edinburgh; the Oxford Lieder Festival; the Palais des Beaux Arts in Brussels and at the Schumannfeste in Dusseldorf. She is a regular guest at London’s Wigmore Hall.

Please contact Keiron Cooke for a full biography.

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News & Features


Fidelio - Marzelline
Symphony No. 9

Sieben Frühe Lieder

Symphony No. 1

Ein Deutsches Requiem

The Rape of Lucretia - Female Chorus
The Turn of the Screw - Governess
Les Illuminations 
On This Island 
Our Hunting Fathers
Peter Grimes - Ellen Orford 

Mass in F Minor

Carmen - Micaela

Chants d'Auvergne

Quatre poèmes hindous

L’Elisir d’Amore - Adina


The Apostles 
The Kingdom


Orfeo - Euridice

Alcina - Alcina
Arianna in Creta - Alceste
La Resurrezione
Rodelinda - Rodelinda
Saul - Merab
Semele - Semele
Theodora - Theodora
Xerxes - Romilda

Die Schöpfung
Die Sieben letzten Worte des Erlösers am Kreuze
Scena di Berenice

Sunrise' yellow noise
The Yellow Wallpaper 

Hänsel und Gretel - Gretel

The Sacrifice - Sian 

Symphony No. 2 
Symphony No. 4
Symphony No. 8 (Una ponitentium)


Poèmes pour Mi 

Ah, lo previdi
Bella mia fiamma
Coronation Mass
Cosi fan Tutte - Despina
Die Zauberflöte - Pamina
Don Giovanni - Donna Elvira
Exsultate Jubilate 
Idomeneo - Ilia
La clemenza di Tito - Vitellia
Le nozze di Figaro - Contessa
Mass in C minor - Soprano 2
Misera, dove son
Vesperae Solennes

Songs for a Winter's Evening
Turbulent Landscapes 

Chansons madécasses

Szenen aus Goethes Faust

The Rake's Progress - Anne Trulove

Freundliche Vision
Der Rosenkavalier - Marschallin
Vier Letzte Lieder

Donna Nobis Pacem
Symphony No. 1 'A Sea Symphony' 
Symphony No. 3 'Pastoral' 
Serenade to Music

Bachianas Brasileiras

Der Freischuetz - Aennchen

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Rodgers & Hammerstein

The King and I

Théâtre du Châtelet favorite song, the melancholy “Something Wonderful,” is sung by the king’s head wife, Lady Thiang, a moving tribute to her husband. The Scottish soprano Lisa Milne makes it a high point. George Loomis, New York Times, 19 June 2014
Excellent support cam from Scotts soprano Lisa Milne as the King's number-one wife, Lady Thiang; Milne displayed a mature understanding of the human dramas playing out around her and a voice that glowed with sincerity in the unforgetable number 'Something Wonderful'. Stephen J. Mudge, Opera News, September 2014


Don Giovanni

Scottish Opera

The best news of the evening was Lisa Milne’s confidently shaped and histrionically vibrant Donna Elvira – an interpretation which promised a return to the form which ranked as her one of the leading young lyric sopranos of the Millennium years. Rupert Christiansen, The Telegraph, 17 October 2013
Lisa Milne's expert singing offers Donna Elvira dignity in her constant harrying of Giovanni while not disguising the fact that her chase is as self-deceiving as it is futile. George Hall, The Guardian, 17 October 2013
Lisa Milne is a tower of simmering fury as Donna Elvira. David Kettle, The Scotsman, 17 October 2013
Lisa Milne wrung her hands and wrung her heart out over whether or not to trust him [Giovanni]. She managed to find the necessary light and shade in her voice to bring out these sudden changes in desire.  Though her fury was always more exciting than her affection she rose up and firmly grabbed hold of all that was expected of her. Kelvin Holdsworth, Opera Britannia, 18 October
Lisa Milne is a standout Donna Elvira, Giovanni’s previously despoiled lover, capturing the emotional struggle between logical head and disloyal heart. Thom Dibdin, The Stage, 21 October 2013
Lisa Milne sang Donna Elvira, full of a sense of angst and self-loathing that was utterly believable ; her voice has lost none of its ability to move and entertain. It was a tremendous pleasure to see Milne back on the opera stage, especially in her native Scotland, after several years focusing on recitals. Neil Jones, Opera Now, December 2013
Donna Elvira (Lisa Milne in good voice) is in opulent burgundy and gold brocade. She is openly conflicted, seeking revenge because she is in love with Giovanni and would take him back if only he could be faithful and trusted. We see and hear her emotions fluctuate till, after his death, she realises her loss as she hands the notorious black book to Leporello. Catriona Graham, The Opera Critic, 18 November 2013

Rodgers & Hammerstein


Théâtre du Châtelet

Bravo à la Nettie bonne fille de Lisa Milne. Jean-Charles Hoffelé, Concert Classic, 20 March 2013


The Yeoman of the Guard

BBC Concert Orchestra/Glover at the BBC Proms

Lisa Milne's Elsie Maynard cleanly and touchingly sung. George Hall, The Guardian, 20 August 2012
Mark Stone, who has a baritone voice of satin, was a terrifically fun Jack Point and together with the superb Lisa Milne as Elsie, they did quite a bit of scene stealing. It was a hilarious paring of two singers whom I’m already a great fan of. Stone’s patter song was a tour de force and Milne’s beautiful rendition of Though tear and long-drawn sigh was stunning. Their parting duet at the end was so touchingly delivered. Melinda Hughes, Spear's, 20 August 2012


Our Hunting Fathers


Lisa Milne was the engaging soloist, communicatively clear in her feeling for the text, her arresting virtuosity addressing the wide-ranging vocal line with spectacular success, and making light of Britten’s experimental demands upon the voice… Christopher Morley, The Birmingham Post, 25 May 2012


Symphony no. 4

Utah Symphony Orchestra/Fischer

Lisa Milne, the soloist, gave a radiant and captivating performance...she is an undeniably powerful singer who uses phrasing and vocal color to expert effect. Her delivery of the quiet final verse was magnetic. Catherine Reese Newton, The Salt Lake Tribune, 06 April 2012


Songs of the Auvergne


Canteloube’s 'Songs of the Auvergne' is one of the most popular song cycles in the repertoire and with the beautiful voice of Scottish soprano Lisa Milne performing them they become something very special. She chose eight songs from the cycle, beginning with the most famous, Baïlèro. Milne sang with a rich yet soft texture that was totally beguiling and despite the large orchestration brought out the intimacy of the song as the young shepherdess sings to her lover.  The Trois Bourrées were sung with animation and with real sparkle in Milne’s eyes. She produced lively interpretations singing with imagination and was beautifully accompanied by the solo oboe and clarinet. The remaining songs – all love songs and full of yearning – were beautifully sung and delivered with verve. Milne brought the songs to life, acting the role as the lovelorn shepherdess, whilst the orchestra played with such empathy as to evoke the smell of the French country air. Peter Rutterford, Perthshire Advertiser, 02 March 2012


Symphony no. 4

New York Philharmonic Orchestra/Harding

And with the fine young soprano Lisa Milne as an animated and beguiling vocal soloist, Mahler’s portrait of heaven, as reported by an angel, worked its magic. Anthony Tommasini, New York Times, 04 March 2011


Ein Deutsches Requiem

BBC Scottish Symphony Orchestra/Runnicles

…the poised intensity of soprano Lisa Milne... Kenneth Walton, The Scotsman, 13 February 2011
Lisa Milne was the rapturous soprano soloist in her 'comforting' aria; one felt a real emotional connection to the text... Ivan Hewett, The Telegraph, 11 February 2011
Lisa Milne made light of its taxing soprano solo. Sandy Scott, The Scotsman, 14 February 2011
Lisa Milne soared swiftly in the soprano solo. Andrew Clark, Financial Times, 13 February 2011


The Sacrifice

Orchestra of the Welsh National Opera/Negus (Chandos CD, 2010)

…a set of performances of the highest calibre.  Without exception, the singing is outstanding.  Lisa Milne sings Sian with the constrained passion and tortured resolve that are fundamental to the role. Christopher Ballantine, Opera, May 2010