Mezzo soprano Rosie Aldridge was a member of the Ensemble at the Wiener Staatsoper (2016-2018); she is a graduate of the Benjamin Britten International Opera School at the Royal College of Music, and was a Jerwood Young Artist at the Glyndebourne Festival in 2010.
This season Rosie will make her debut at the Gran Teatre del Liceu at the Kabanicha Katya Kabanova; she will return to the ROH as Angrboda in the World Premiere of A Monstrous Child which will reopen the Linbury Theatre; she will make her debut for the Opéra National de Lorraine as Nellie Dean Wuthering Heights; she will return to ENO as Gertrude Hänsel und Gretel. and in future season she looks forward to returning to the ROH, Komische Oper, Berlin, Teatro Real Madrid and to her debut at the Concertgebouw, Amsterdam and La Monnaie, Brussels.
At the Wiener Staatsoper, Rosie’s appearances include: Annina Der Rosenkavalier; Aksinya Lady Macbeth of Mtsensk; Gertrude Roméo et Juliette; Teresa La Sonnambula; Madame Larina Eugene Onegin; Marthe Faust; Giovanna Rigoletto; Roßweiße Die Walküre and Annina La Traviata in a Gala Performance celebrating the 50th Anniversary of Placido Domingo.
Rosie made her debut at the Royal Opera House, Covent Garden as Praskowja Osipovna, Bubliki, & Social Commentator The Nose directed by Barrie Kosky, returning as Aksinya Lady Macbeth of Mtsensk conducted by Sir Antonio Pappano; for the Komische Oper, Berlin she made her debut as Praskowja Osipovna, Bubliki, and Social Commentator The Nose; she has appeared at the Glyndebourne Festival as the Lady in Waiting Macbeth; at the Teatro Real, Madrid as a Blumenmädchen Parsifalconducted by Semyon Bychkov; at English National Opera as Dritte Dame Die Zauberflöte and Aksinya Lady Macbeth of Mtsensk directed by Dmitri Tcherniakov and at Scottish Opera as Ruth The Pirates of Penzance.
On the concert platform her engagements have included Vaughan-Williams Five Tudor Portraitswith the BBC Symphony Orchestra and John Wilson; a concert of Baroque arias with the Academia Montis Regalis at the Innsbruck Early Music Festival; Elgar Dream of Gerontius with the Royal Philharmonic Orchestra at the Royal Albert Hall; Verdi Requiem with the London Philharmonic Orchestra and David Parry at the Norwich Festival. Further appearances include Elgar Sea Pictureswith Martin Andre; Mendelssohn’s Elijah with Sir Thomas Allen; Mozart Requiem at the Royal Festival Hall with the English Chamber Orchestra; Dvořák Stabat Mater at the Cadogan Hall, and the Christmas Oratorio at St John’s Smith Square.
Biography not for publication, for an up to date version please contact Oliver Clarke.
"Rosie Aldridge has a mezzo voice full of colour and mischief, and a presence which ensures we don’t take our eyes off her whenever she’s on stage."
"Rosie Aldridge excels in multiple supporting roles!"
The Daily Telegraph
"Rosie Aldridge was magnificent in her three contrasting roles, approaching every note with gusto!”
"Rosie Aldridge gave a very good performance as Amina’s mother, with very good acting skills, and great presence in the concertato of the second act.”
Opera. My 2 Cents
“Rosie Aldridge was consistently impressive.”
Fiona Maddocks, The Guardian
“Rosie Aldridge staked triumphant claim on a new Fach as a passionate Composer, producing streams of trenchant, smoky-tinged tone and articulating her words with old-school precision!”
"Rosie Aldridge was on terrific form and gave us a strongly sung and finely dramatic performance. In a musically strong evening, for me Aldridge gave us some of the finest Handel singing of the evening."
Robert Hugill, Planet Hugill
"Vivid cameos especially from... Rosie Aldridge as Aksinya.”
"Rosie Aldridge, the most accomplished of the cast and the finest actress."
Andrew H King - Bachtrack
"Rosie Aldridge showed herself to be one of the most gifted Handelians... Her demeanour onstage meant that she created a believable masculine persona which is no mean feat."
Robert Hugill, mvdaily
“Rosie Aldridge was magnificent, from her initial drunken entry in ‘The Tunning of Elinor Rumming’, to the myriad emotions of the long Jane Scroop movement, this was a singer relishing every one of the opportunities given her, communicating her characterisations and various moods with no little artistry – and dead in tune.”
Robert Matthew Walker, Classical Source
"Voluptuous Rosie Aldridge as Hippolyta: an Amazon indeed, with a rich voice to match!"
Alexander Campbell, Classical Source
"Rosie Aldridge's Florence Pike was superb, a Lady Billows in waiting, I suggest."
Mark Pullinger, Opera Britannia