Rosemary Joshua


Rosemary Joshua's most recent engagements have included Despina in staged performances of Così fan tutte with the Los Angeles Philharmonic and Gustavo Dudamel; her first Contessa in concert performances of Le nozze di Figaro on tour with the Freiburger Barock Orchester and René Jacobs; John Adams' El Niño with the London Philharmonic Orchestra and Vladimir Jurowski and the title role in concert performances of Theodora on tour with The English Concert and Harry Bicket.  

Notable operatic appearances have included Anne Trulove The Rake's Progress and Despina Così fan tutte (Covent Garden); Tytania A Midsummer Night's Dream (La Scala); Oscar Un ballo in maschera and Helen in the world premiere of Manfred Trojahn's Orest (Netherlands Opera); Adèle Die Fledermaus (Metropolitan Opera) and the title role in The Cunning Little Vixen (Opéra National du Rhin, Netherlands Opera & La Scala).

She is particularly regarded internationally for her many Handel roles, having sung Ginevra Ariodante (San Diego, Moscow); Angelica Orlando (Munich, Covent Garden & Aix-en-Provence); Poppaea Agrippina (Cologne, Brussels & Paris); Cleopatra Giulio Cesare (Paris, Amsterdam & Florida); and the title-role in Semele (Aix-en-Provence, Innsbruck Festival, Flanders, Cologne, BBC Proms & English National Opera - for which she was nominated for a Laurence Olivier Award). Most recently she has sung Nitocris Belshazzar (Deutsche Staatsoper, Théâtre du Capitole, Innsbruck Festival & Aix-en-Provence) and the title-role in Partenope (English National Opera).

In concert she appears regularly with the world’s finest orchestras and conductors and recent highlights have included Bach Cantatas (Bayerischer Rundfunk/Antonini), Nitocris in a concert tour of Handel's Belshazzar (Les Arts Florissants/Christie), Mahler's Symphony no. 4 (Orchestre des Champs-Elysées/Herreweghe), Mendelssohn's Elijah at the BBC Proms (Gabrieli Consort/McCreesh), Ilia Idomeneo at the Edinburgh Festival (Scottish Chamber Orchestra/Norrington), Poulenc's Gloria (Hallé Orchestra/ Elder) and Handel's Messiah in Carnegie Hall (Les Violons du Roy/Labadie).

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

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News & Features


El Niño

Mass in B Minor 
St John Passion
St Matthew Passion

Missa Solemnis
Symphony no. 9

Béatrice et Bénédict - Héro

Symphony no. 1

Carmen - Micaëla

Venus and Adonis - Venus

Ein Deutsches Requiem

Albert Herring - Miss Wordsworth
A Midsummer Night's Dream - Tytania
The Rape of Lucretia - Female Chorus
The Turn of the Screw - Governess

La Calisto - Calisto

Don Pasquale - Norina
L'Elisir d'amore - Adina



Orfeo - Eurydice

Roméo et Juliette - Juliette

Acis and Galatea - Galatea
Agrippina - Poppea
Alcina - Alcina
L'Allegro, il Penseroso ed il Moderato
Arianna in Creta - Arianna
Belshazzer - Nitocris
Dixit Dominus - Soprano 1
Esther - Esther
Ezio - Fulvia
Flavio - Emilia
Giulio Cesare - Cleopatra
Israel in Egypt 
Judas Maccabeus - Israelitish Woman
La Resurrezione - Angel
Orlando - Angelica
Partenope - Partenope
Rodelinda - Rodelinda
Sampson - Dalila
Saeviat tellus inter rigore
Saul - Merab
Semele - Semele
Serse - Romilda
Sileti Venti
Solomon - Queen of Sheba
Theodora - Theodora
Il trionfo del tempo e della verità - Bellezza

Harmonie Messe
Die Jahreszeiten
Die Schöpfung

The Cunning Little Vixen - Vixen

Symphony no. 2
Symphony no. 4


Ah, lo previdi 
Bella mia fiamma 
Ch'io mi scordi di te 
Coronation Mass
Così fan tutte - Despina
Die Zauberflöte - Pamina
Exsultate Jubilate  
Idomeneo - Ilia
La finta giardiniera - Sandrina
Le nozze di Figaro - Contessa 
Mass in C Minor - Soprano 1 / 2
Zaide - Zaide

Stabat Mater
Salve Regina

Dialogues des Carmélites - Blanche
Sept Repons des tenebres

The Fairy Queen
Dido and Aeneas - Belinda
King Arthur

Tancredi - Amenaide

Das Paradies und die Peri - Peri

Die Fledermaus - Adèle

Les Noces
The Rake's Progress - Anne Trulove

Princess Ida - Princess Ida
The Mikado - Yum Yum

Stabat Mater

Un ballo in maschera - Oscar

Nulla in Mundo Pax Sincera

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Manfred Trojahn


Netherlands Philharmonic Orchestra/Albrecht (De Nederlandse Opera CD, 2014)

As Helena, Rosemary Joshua shares in some of the work's highlights, particularly through her duos: one thinks of her thrilling combinations with Hermione, and the unforgettable dramatic encounter between her lyrical, imploring Helena and a ferocious Elektra. Christopher Ballantine, Opera, August 2014


Così fan tutte

Los Angeles Philharmonic/Dudamel

Mr. Gilfry made the strongest impression, along with the soprano Rosemary Joshua, lively as Despina. Zachary Woolfe, New York Times, 25 May 2014
The role of the wily servant Despina, who helps manipulate the action through a series of masquerades, is sung with charm and a tart edginess by Welsh mezzo, Rosemary Joshua. Joshua sings beautifully and looks fantastic in her perfectly cut Chalayan suits, even if her character would never in her wildest dreams be able to afford them.
Jim Farber, San Francisco Classical Voice, 27 May 2014
...the principals – all well-experienced in the roles and Mozart opera generally – were all superb; and Rod Gilfry (Don Alfonso) and Rosemary Joshua (Despina) were particularly outstanding. Joshua commands the spotlit center stage for her lecture on the fickleness of men and the pointlessness of fidelity, “In uomini…”  It’s not surprising, given their blistering vocal and acting talents, that they practically steal the show.  Ezrha Jean Black, Artillery Magazine, 24 May 2014 was hard not to love the acting and singing of Rod Gilfry as Don Alfonso and Rosemary Joshua as Despina. Julie Riggott, Culture Spot LA, 31 May 2014
Soprano Rosemary Joshua introduced a manly, worldly Despina, smoking a cigarette and making knowing pronouncements with hard precision. Timothy Mangan, Los Angeles Register, 27 May 2014



Concert Tour with The English Concert/Bicket

Rosemary Joshua started out with Handelian purity, but rose to her act of self-sacrifice with more strength of purpose. Richard Fairman, Financial Times, 10 February 2014
Rosemary Joshua's Theodora was every bit as human as Handel’s music makes her – working against the unyielding plot and libretto to produce a performance both fragile and steely, and a climax infinitely believable and touching. Alexandra Coghlan, The Arts Desk, 09 February 2014
Rosemary Joshua brought her attractive soprano tone to the title role. Charlotte Valori, Bachtrack, 10 February 2014
Rosemary Joshua’s silvery trills as the noble Roman princess... Geoff Brown, The Times, 12 February 2014
Rosemary Joshua’s delicately-calibrated portrayal of the title role...  Michael Church, The Independent, 10 February 2014
As Theodora, Rosemary Joshua’s radiant voice positively glowed as her skilful shaping of each word gave her utterances maximum emotional impact. Sam Smith, Music OHM, 08 February 2014


El Niño

London Philharmonic Orchestra/Jurowski

In Rosemary Joshua we had a maiden radiant in her Magnificat and a committed chronicler of the Tlatelolco massacre, the dark and multi-layered high point of Part Two. David Nice, The Arts Desk, 15 December 2013
There are striking sections, and much of the solo writing made a keen impact [including] the tenderness of Rosemary Joshua's lucid soprano.  George Hall, The Guardian, 16 December 2013
Vladimir Jurowski conducted with surety and a steely command of the oratorio’s meanings, while soloists Rosemary Joshua, Matthew Rose, and the three superb countertenors all performed at the height of their game. Sam Smith, Music OMH, 16 December 2013



Les Arts Floissants/Christie (Les Arts Florissants Edition CD, 2013)

Rosemary Joshua navigates Nitocris's spiritual and emotional journey exquisitely. Anna Picard, BBC Music Magazine, December 2013
Nitocris is sung by Rosemary Joshua, whose voice sounds fresh and who has the flexibility necessary for the role. John T. Hughes, International Record Review, December 2013
Rosemary Joshua is particularly good in apprehensive, reprimanding mode... Geoffrey Norris, The Telegraph, 10 January 2014


Le nozze di Figaro

Freiburger Barockorchester/Jacobs

Rosemary Joshua (la comtesse), Pietro Spagnoli (le comte) et Isabelle Poulenard (Marcellina) ont développé un jeu mélodique brillant. Culturebox, 23 September 2013
Toute de franchise et de fraîcheur, Rosemary Joshua tranche sur la maturité sophistiquée de beaucoup de comtesses, mais séduit aussi par son naturel et sa musicalité. Didier van Moere, Concertonet, 15 October 2013



Early Opera Company/Curnyn (Chandos CD, 2013)

As the heroine Romilda, Rosemary Joshua far eclipses her counterparts on rival recordings, singing with sweet, sensuous tone and characterising deftly. She can be blithe, as in her Act 2 aria ‘Se l’idol mio’, but brings a fiery intensity to her agonised central aria, ‘È gelosia’.  Richard Wigmore, Gramophone, September 2013
Rosemary Joshua’s account of Romilda is noble and steadfast, retaining the character’s dignity even as she undergoes the torment of Serse’s unwelcome advances and Arsamene’s condemnation as he misunderstands Romilda’s intentions. Joshua avoids anything skittish, and movingly brings out the poignancy of her character’s situation in ‘Se l’idol mio’.
Curtis Rogers, Classical Source, September 2013
Romilda is brilliantly sung by Rosemary Joshua, ideally matched to the Arsamene of David Daniels, whose lamenting arias approach the sublime here.  A total success. Hugh Canning, Sunday Times, 06 October 2013
Sopranos Rosemary Joshua (as Romilda) and Joélle Harvey (Atalanta) melt and sparkle to order accompanied by fluttering flutes. Anna Picard, BBC Music Magazine, November 2013
Anna Stéphany (Xerxes) and Rosemary Joshua (Romilda) lead a cast without a weak link in the most stylishly sung and conducted account yet. 100 Best Records of the Year, The Sunday Times, 08 December 2013
Rosemary Joshua's button-bright tone and sheer charm help her construct an unfailingly delightful Romilda. George Hall, Opera, January 2014
Rosemary Joshua’s Romilda is her father’s child with nobility in the voice yet also a vulnerable femininity while her beau David Daniels is as strapping and heroic as a counter-tenor can manage.
Warwick Arnold, Limelight, 19 February 2014


The Cunning Little Vixen

Opéra national du Rhin

[Rosemary Joshua est] silhouette gracile et peps adolescent – est une Renarde fraîche et dévergondée, épatante dans sa liberté canaille et touchante quand elle découvre l’amour. Voix fruitée, séduction et candeur mêlées, à l’aise dans sa peau de renarde, elle semble s’éclater – pour parler comme Finoreille – dans le personnage. La seconde – Renard sexy et rock’n’roll dans son blouson de cuir feu – est tout autant adéquate : prestance du jeune séducteur, tendresse de l’amoureux, et chant à l’avenant… Chantal Cazaux, L'Avant-Scène Opéra, 12 February 2013
Rosemary Joshua reprend sa merveilleuse Renarde, séduisante et juvénile, vive et enjouée, lui apportant véracité et la lumière de ses aigus. Autre grande titulaire du rôle Michel Thomé, ResMusica, 11 February 2013
An der Straßburger Opéra du Rhin trägt Bystrouška, das schlaue Füchslein, keine Maske. Rosemary Joshua kombiniert eine orangefarbene Perücke mit einem Kapuzenpulli, bewegt sich mal auf zwei Beinen, mal auf allen Vieren. Mit ihrem wendigen, lyrisch leuchtenden Sopran ist sie eine Füchsin zum Verlieben.  Georg Rudiger, Die Welt, 12 February 2013
Rosemary Joshua était déjà la Renarde de Carsen en 2001, elle a depuis chanté le rôle à Paris, à Milan, à Amsterdam. Bystrouška n’a plus de secret pour elle, et le temps semble n’avoir aucune prise sur la soprano britannique dont la silhouette et le dynamisme juvéniles permettent une magistrale composition de petite bête vivace, incarnation de tous les fantasmes masculins. Laurent Bury, Forum Opera, 12 February 2013
Rosemary Joshua est une renarde pétillante, très à son aise et particulièrement agile, vocalement et physiquement.  Anne Suply, L'Alsace, 12 February 2013
La Renarde de Rosemary Joshua dont le visage fin et pointu, constamment expressif, se passe aisément de masque, et qui bondit avec une ardeur sans cesse renouvelée, d’un bout à l’autre de la scène - sans que le chant, clair, triomphant, à l’excellente diction, n’en souffre nullement.  Emmanuel Andrieu, Classique Info, 11 February 2013
Distribution sans faille, avec en particulier la Renarde délicieusement fraîche et hardie Christian Merlin, Le Figaro, 15 February 2013
Rosemary Joshua verzaubert mit ihrer Empathie für die Titelfigur. Die walisische Sopranistin ist derzeit wohl die Interpretin für diese Partie, die Beweglichkeit ihrer bis in die extremen Höhen hinein klaren Stimme und ihr lyrisches Timbre berühren und erinnern stark an Lucia Popps grandiose Verkörperung des Füchsleins Schlaukopf.  Badische Zeitung, 15 February 2013
Rosemary Joshua campe une Renarde irrésistible de fraîcheur, de charme et de vitalité. Alain Cochard, Concert Classic, 12 February 2013
Sängerisch dominierte Rosemary Joshua als Füchslein Schlaukopf die Szene: wie die anderen Füchse mit rot gefärbter Frisur mit Pferde-, nein Fuchsschwanz, rotem Kapuzenpulli und schwarzen Strumpfhosen.  Sie setzte Ihren samtigen cremigen Sopran mit schöner Leichtgängigkeit ein und überzeugte mit flottem, quirligem Spiel.  Manfred Langer, Der Opernfreund, 12 February 2013



Les Arts Florissants/Christie

In the oratorio’s most sublime aria, in which Belshazzar’s mother Nitocris pleads for him to repent: as sung by that distinguished Handelian Rosemary Joshua, with oboe, cello, and double bass tenderly underscoring her silvery soprano, the effect was desperately moving...Joshua’s singing had graceful authority. Michael Church, The Independent, 14 December 2012
Rosemary Joshua as the tragic Nitocris was at her most rewarding. Like Handel's score, she saved the best until last. Martin Kettle, The Guardian, 14 December 2012


Così fan tutte

Royal Opera House, Covent Garden

Rosemary Joshua was a smart, subtle Despina. Hugo Shirley, Opera, April 2012
Despina [is] hilariously played by Rosemary Joshua, who enjoys that rare combination of a brilliant voice and perfect comic timing. Stephen Pritchard, The Observer, 12 February 2012
Rosemary Joshua's brilliant Despina is matched by Thomas Allen's familiar, if dangerously charming Alfonso. Tim Ashley, The Guardian, 31 January 2012
...only Rosemary Joshua’s sparkling and sexy Despina has the vocal and dramatic chops to properly play off [Thomas] Allen’s presence. Neil Fisher, The Times, 30 January 2012
Rosemary Joshua’s cougar-like Despina was the most consistent and enjoyable. She brought grace and precision to a confident portrayal which rivalled her mistresses in glamour. Sascha Morton, What's on Stage, 31 January 2012
Joshua’s Despina was a agile of voice as on stage, hers is a Despina to be savoured. Mark Berry, Seen and Heard, 28 January 2012
Rosemary Joshua’s watchful, sharp-witted Despina is founded on pristine soprano tone and musical stylishness. George Hall, The Stage, 30 January 2012
...blissful phrasing and a radiant vocal line... Mark Valencia, Classical Source, January 2012
The best of the vocal performances came from Da Ponte's two catalysts. Rosemary Joshua served up a sex-crazed Despina (beware the office party where she's in attendance), dominating the stage as she powered around in red stilettos, but equally captivating in her turns en travesty. Her notary in particular – equipped with laptop, pin stripes, trilby and absurd English accent – was a comic masterstroke, delivered with the authority of one utterly at ease with on-the-money vocal performance. Flora Willson, Musical Criticism, 31 January 2012
Rosemary Joshua was equally ideal as Despina. Her customary purity of tone served her pair of arias well, and her acting was excellent: I loved her sexy, swinging hips as she tried to encourage the austere sisters to lighten up a little at the beginning of Act II. She was just as effective as the quack doctor and the bogus notary, for which she adopted a wonderfully over-the-top Cockney-Italiano accent. Dominic Wells, Opera Britannia, 29 January 2012


Harmonia Sacra

Les Talens Lyriques/Rousset (Aparté CD, 2012)

Rosemary Joshua brings vocal security and textual intelligence to these works. Lindsay Kemp, Gramophone, July 2012
For a singer who began her career in the early 1990s, Joshua sounds astonishingly fresh – Emma Kirkby-like in the purity of her sound, although she brings a wider palette of colour to this kind of music… she brings a specific sense of period style to the vocal lines, brilliantly supported by the small ensemble led by Rousset. Hugh Canning, The Sunday Times, 26 March 2012



Gabrieli Consort/McCreesh at the BBC Proms

Rosemary Joshua held our hands in 'Be not afraid!' with a palpable warmth and touching reassurance, her head, heart and voice firmly heaven-bound. Igor Toronyi, The Arts Desk, 29 August 2011
Rosemary Joshua’s soprano charmed brightly... Geoff Brown, The Times, 30 August 2011
Rosemary Joshua's fresh-faced soprano. George Hall, Guardian, 29 August 2011



Théâtre du Capitole, Toulouse

La soprano galloise Rosemary Joshua, Nitocris intensément émouvante, éblouit par la beauté d’un timbre cristallin et charnu à la fois, une voix parfaitement homogène, une ligne de chant conjuguant à la perfection virtuosité, souplesse d’émission et rigueur stylistique. Robert Pénavayre, Classic Toulouse, 20 May 2011
C’est Rosemary Joshua, dans le rôle sensé et sensible de la mère aimante du tyran, par sa classe et l’élégance de son maintien comme de son chant, qui restera dans les mémoires. L’intelligence des reprises avec quelques suraigus, la précision des vocalises et l’émotion dégagée par la musicalité de la cantatrice sont un bonheur rare. Hubert Stoecklin, Applaudir, 22 May 2011
La soprano Rosemary Joshua, qui, si elle peine à nous convaincre, physiquement, qu'elle est bien la mère de Belshazzar - plutôt sa cadette ! - nous communique sans peine l'émotion maternelle des 'lamenti' bouleversants que Haendel a composés pour ce rôle. Gilles Macassar, Telerama, 28 May 2011
Rosemary Joshua, reine intelligente et mère sensible. Maurice Salles, Forum Opera, 21 May 2011



Early Opera Company/Curnyn (Chandos CD, 2010)

Joshua’s gleaming, agile soprano remains on pristine form for such an experienced Handelian and she’s a consistent pleasure of all three Curnyn sets.
Hugh Canning, International Record Review, November 2010
Rosemary Joshua is one of our finest current Handel sopranos, and her singing here is not only attractive and accurate, but also heartfelt and dramatically focused. Sandra Dowdler, Opera, March 2011
Joshua makes an engaging heroine and is in fine voice throughout; she sounds particularly affecting in the opera's two loveliest arias, 'Parto, si' and 'Ma chi punir desio ?' Early Music Today, December 2010
Had Handel specifically composed ‘Parto, sì’ and Emilia’s other arias specifically for her it is doubtful that Rosemary Joshua could have sounded more resplendent in them.  Bringing an uncommonly beautiful and secure voice to her performance, the Welsh-born soprano never loses her footing, vocally or dramatically.  As in so many Handel operas with castrato title heroes, it is truly the soprano heroine about whom the opera revolves. This performance is fortunate to have at its core one of the most accomplished Handelians of recent years.  Every musical arrow in Emilia’s quiver is sharpened to extraordinary precision by Ms. Joshua’s pointed singing, which is a source of endless grace throughout the performance.  In her Chandos recordings of Partenope and Semele, Ms. Joshua had already presented her Handelian credentials.  With this recording of Flavio, she not only confirms those credentials but emerges as one of the most stylish singers of Handel heard during the ‘Baroque Renaissance’ of the past thirty years.
Joseph Newsome, Voix des Arts, 09 November 2010
Rosemary Joshua makes the role of the anxious but steadfast Emilia especially endearing. Opera Now, November/December 2010


The Rake's Progress

Royal Opera House, Covent Garden

Rosemary Joshua is a very fine Anne Trulove. Tim Ashley, The Guardian, 25 January 2010
The vibrancy of her recitative 'How strange' and aria 'O heart be stronger' was one of the highlights of the performance, and her final lullaby to the delusional Tom (accompanied by the two flute lines, I floating above and II pulsing below) delicate and affecting. Carla Finesilver, Opera Brittania, 24 January 2010
A brilliant lyric voice and vibrant stage presence was on hand in the person of Rosemary Joshua’s Anne. This wonderful artist goes from strength to strength and she, too, has an awesome arsenal of technical skills at her command. Just listen to her soaring fearlessly through the most angular phrases and meandering melismas, and then turn around to melt our hearts with utterly focused limpid singing of the first order. James Sohre, Opera Today, 25 January 2010
Rosemary Joshua made a winsomely sweet Anne Trulove. Rupert Christiansen, The Telegraph, 26 January 2010
Rosemary Joshua's Anne Trulove is affecting and beautifully sung. Barry Millington, Evening Standard, 25 January 2010
Rosemary Joshua made a sweet, neatly sung Anne Trulove. Neil Fisher, The Times, 26 January 2010
Rosemary Joshua presents Anne Trulove’s vulnerability and determination perfectly and her vocalism is impeccable. George Hall, The Stage, 26 January 2010
Rosemary Joshua’s Anne Trulove was nicely innocent and touching. Richard Fairman, Financial Times, 27 January 2010


A Midsummer Night's Dream

Teatro alla Scala, Milan

Rosemary Joshua scores a hit as Tytania, singing with especially elegant and playful coloratura. Oliver Schneider, Wiener Zeitung, 09 June 2009
David Daniels and Rosemary Joshua were wonderfully classy. Il Giornale, 10 June 2009
…a wonderfully winning performance from Rosemary Joshua. Stefano Jacini, Il Giornale della Musica, 08 June 2009



English National Opera

Joshua’s fleet, flexible and silvery soprano matched her stunning looks and she inhabited the role of the Neapolitan queen/Parisienne salonista with a sophisticated light touch. Her account of the simile aria ‘Qual farfalletta’ with its fluttering coloratura was ravishing. Sandra Bowdler, Opera Magazine, December 2008
…brilliant acting and glorious singing by Rosemary Joshua… Hugh Canning, The Sunday Times, 19 October 2008
Rosemary Joshua vocally shimmers and shines as the flirtatious Partenope, and displays some sparkling coloratura. Warwick Thompson, Bloomberg, 20 October 2008
Rosemary Joshua in the title role wore the clothes as elegantly as she sang the arias, her ‘butterfly’ number in act two fluttering, palpitating, exquisitely. Edward Seckerson, The Independent, 14 October 2008
Rosemary Joshua shimmers, shines and floats in the title role. Warwick Thompson, The Metro, 14 October 2008
Rosemary Joshua leading the way, vocally accomplished and dramatically strong. Keith Clarke, Musical America, 13 October 2008
Rosemary Joshua sings the title role of Queen of Naples. She is on tremendous form — elegant, feline and growing in assurance as the evening progressed. Fiona Maddocks, Evening Standard, 10 October 2008
Rosemary Joshua sings Partenope with charm, delicacy and a finely drawn line. Andrew Clark, Financial Times, 11 October 2008
Her Kristin Scott Thomas looks were apt and her acting wonderfully spirited. Richard Morrison, The Times, 11 October 2008
Rosemary Joshua…hit dazzling form, her diamantine virtuosity conveying all the character's dangerous charm. Rupert Christiansen, Daily Telegraph, 13 October 2008


Manfred Trojahn: Orest

Dietrich Henschel - Orest
Rosemary Joshua - Helena
Sarah Castle - Elektra
Romy Petrick - Hermione
Finnur Bjarnason - Apollo/Dionysos

Netherlands Philharmonic Orchestra
Marc Albrecht

A live recording from the premiere production at the Netherlands Opera, 2011
Challenge Classics


Anna Stephany - Serse
David Daniels - Arsamene
Hilary Summers - Amastre
Brindley Sherratt - Ariodate
Rosemary Joshua - Romilda
Joélle Harvey - Atalanta
Andreas Wolf - Elviro

Early Opera Company
Christian Curnyn


Rosemary Joshua - soprano
Sarah Connolly - mezzo-soprano
Robert Murray - tenor
Simon Keenlyside - baritone

Wroclaw Philharmonic Choir
Gabrieli Consort & Players
Paul McCreesh
Signum Classics

HANDEL: Flavio

Tim Mead - Flavio
Rosemary Joshua - Emilia
Iestyn Davies - Guido
Renata Pokupic - Vitige
Hilary Summers - Teodata
Thomas Walker - Ugone

Early Opera Company
Christian Curnyn
Chaconne (Chandos)

HANDEL: Semele

Rosemary Joshua - Semele
Hilary Summers - Ino/Juno
Richard Croft - Jupiter/Apollo
Stephen Wallace - Athamus
Gail Pearson - Iris
Brindley Sherratt - Cadmus/Somnus

Early Opera Company
Christian Curnyn

Chaconne (Chandos)

HANDEL: Partenope

Rosemary Joshua - Partenope
Lawrence Zazzo - Arsace
Hilary Summers - Rosmira
Kurt Streit - Emilio
Stephen Wallace - Armindo
Andrew Foster-Williams - Ormonte

Early Opera Company
Christian Curnyn

Chaconne (Chandos)