Mezzo soprano Rosie Aldridge was a member of the Ensemble at the Wiener Staatsoper (2016-2018); and her career includes regular appearances with leading opera houses, orchestras and conductors around the world.
This season, Rosie Aldridge will return to Glyndebourne as Baba the Turk The Rake’s Progress and as Marcellina Le nozze di Figaro; she also returns to the Komische Oper, Berlin as Osipova, Bubliki and the Social Compere in The Nose; to the ROH as Mrs Sedley in Deborah Warner's new production of Peter Grimes conducted by Sir Mark Elder and she will make her debut at Staatsoper Stuttgart as The Witch in a new production of Hänsel und Gretel. In concert she will appear at the Edinburgh Festival with the BBC Symphony Orchestra and make her debut with the Berlin Philharmonic Orchestra, performing the Ligeti Requiem with Kirill Petrenko.
In future seasons, Rosie will return to the ROH; Glyndebourne; Staatsoper Stuttgart and the Teatro Real, Madrid; she also looks forward to her debuts at the Opéra national de Paris; La Monnaie, Brussels and Oper Frankfurt.
Rosie’s recent appearances include her debut at the Bayerische Staatsoper as La Frugola Il tabarro; her return to the Teatro Real, Madrid as Mrs Sedley Peter Grimes and she appeared as Kristin in William Alwyn's opera Miss Julie with the BBC Symphony Orchestra which was later recorded for Chandos.
Cancellations due to the Covid-19 Pandemic include: Fata Morgana Love for the 3 Oranges for the Teatro San Carlo, Napoli; Gertrude in Brett Dean’s Hamlet at the Concertgebouw Amsterdam; Mrs Sedley Peter Grimes at the Oper Frankfurt and Gertud Hänsel und Gretel for the Bayerische Staatsoper.
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; as the Beggar Woman and Russian Nanny in a new production of Death in Venice and in the World Premiere of The Monstrous Child as Angrboda; for the Gran Teatro del Liceu, Barcelona she made her debut as the Kabanicha in David Alden's production of Katya Kabanova; 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 Parsifal conducted by Semyon Bychkov returning for Roßweise Die Walküre; at the National Opéra de Lorraine as Nellie Dean in Wuthering Heights; at English National Opera as Dritte Dame Die Zauberflöte; Gertud Hänsel und Gretel and Aksinya Lady Macbeth of Mtsensk directed by Dmitri Tcherniakov.
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 sang the love songs with the knowing sense of the irony that Stravinsky built into them."
"The standout it Rosie Aldridge, wonderfully flouncy and boisterous, as the bearded lady Baba the Turk.”
"… but it was mezzo-soprano Rosie Aldridge’s heart-melting rendition of Se tu m’ami (If you love me) that stole the show.”
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