Winner of the 2009 Kathleen Ferrier Award, soprano Sarah-Jane Brandon studied at the Benjamin Britten International Opera School, and was a participant in the 2011 Salzburg Festival's Young Singers Project.
Sarah-Jane’s recent and future engagements include her debut at the Bayerische Staatsoper as Antonia Les contes d'Hoffmann; her role debut as Donna Anna Don Giovanni and Peri Das Paradies und die Peri in a new production for the Teatro Massimo, Palermo; The Governess The Turn of the Screw for her debut at the Opéra national de Lorraine; Contessa Le nozze di Figaro for the Staatsoper Stuttgart in a new production and for the Semperoper Dresden and her role debut as Mimi La bohéme for Cape Town Opera.
Cancellations due to the Pandemic include her return to the Staatsoper Stuttgart as Contessa; to the Semperoper Dresden as Antonia Les contes d'Hoffmann and a staging of the Strauss Vier letze lieder for the Semperoper Dresden, marking the first staged performances of this work and her role debut as Tatjana in a new production of Eugene Onegin for the Teatro Massimo, Palermo.
On the concert platform Sarah-Jane's recent appearances include: Haydn’s Creation at the BBC Proms with the BBC Philharmonic Orchestra; Haydn's Nelson Mass with the Staatskapelle Dresden and the Munich Philharmonic Orchestra; Mozart’s C Minor Mass with Rai Torino; 1st Soprano in Mahler's 8th Symphony in Hannover and Mendelssohn’s Psalm 42 at the Leipzig Bachfest with the Deutsche Kammerphilharmonie.
Sarah-Jane Brandon has enjoyed particular success with the role of Contessa Le nozze di Figaro, performing the role in new productions for the Semperoper Dresden and Savonlinna Opera Festival, as well as for Glyndebourne; English National Opera; Palm Beach Opera; Opéra de Dijon; Opéra-Theatre de Saint-Etienne, Cape Town Opera and the National Theatre of Bahrain - on tour for the Aix en Provence Festival.
Further appearances on the operatic stage include the title role of Jenufa for Greek National Opera; Opéra de Dijon and Opéra Caen; Micäela Carmen for the Deutsche Oper, Berlin and Teatro Sao Carlos, Lisbon; Donna Anna Don Giovanni for Palm Beach Opera; Pamina in a new production of Die Zauberflöte for the Opéra de Nice; Donna Clara Der Zwerg in a new production for the Teatro Sao Carlos, Lisbon; Erste Dame in Die Zauberflöte at the Teatro dell'Opera di Roma; Giulietta I Capuleti e i Montecchi for the Buxton Festival; Desdemona Otello for Cape Town Opera and she made her debut at the Teatro Real, Madrid in performances of Handel’s L'Allegro, il Penseroso ed il Moderato with the Mark Morris Dance Group conducted by Jane Glover, this acclaimed production was filmed and released on DVD.
Her recent concert engagements include Brahms’ Requiem with the RSNO and Peter Oudjian; Haydn’s Nelson Mass with the Orchestra National de Lyon and Omer Meir Wellber and with the London Philharmonic Orchestra and Yannick Nézet-Séguin; Britten’s War Requiem on a tour of the Netherlands with the Bochum Symphoniker and Rotterdam Symphony Chorus; a tour of the Netherlands with the BBCSO and Martyn Brabbins, performing Howell’s Hymns Paradisi; Mahler’s 8 Symphony conducted by Omer Meir Wellber at the Dresden Music Festival; Viennese Gala Concerts with the Scottish Chamber Orchestra and Thomas Rösner; Beethoven’s Missa Solemnis with Sir Roger Norrington and with Vasily Petrenko at the RLPO; and her debut at the Concertgebouw with the Boston Philharmonic Orchestra and Benjamin Zander performing Mahler's 2nd Symphony.
Further concert highlights include Berg’s Sieben frühe Lieder with the City of Birmingham Symphony Orchestra and Edward Gardner; Mahler’s Symphony no. 4 with the BBC Symphony Orchestra and Sylvain Cambreling, and appearances at the Edinburgh Festival with the Royal Scottish National Orchestra and Sir Andrew Davis; the Mozarteum Orchestra and Ivor Bolton; the London Philharmonic Orchestra with Kurt Masur; the City of Birmingham Symphony Orchestra with Andris Nelsons, the Royal Liverpool Philharmonic Orchestra with Vasily Petrenko and with the London Symphony Orchestra and Sir Bernard Haitink.
Sarah-Jane’s recent recital appearances include her debut recital at the Wigmore Hall with James Baillieu; Trinity College Cambridge and the Leeds Lieder Festival with Malcolm Martineau; the Musée d'Orsay and Birmingham's Barber Institute with Simon Lepper and the Wigmore Hall and the Buxton, Hay-on-Wye, Chester and Oxford Lieder Festivals with Gary Matthewman. She has recorded Poulenc with Graham Johnson and Wolf Lieder with Sholto Kynoch.
Biography not for publication, for an up to date version please contact Oliver Clarke.
"One of tomorrow's great divas..."
Michael Church, The Independent
"Produced a pearly tone that nobody else came close to matching, her Dove Sono showed star potential."
Richard Morrison, The Times
"Sarah-Jane Brandon - what a voice! Brandon set these Mozart arias ablaze with her shimmering, golden and ultimately dazzling voice."
Paul Guest, Huffington Post
"The production was dominated by Sarah-Jane Brandon, her beautiful rendition of Desdemona - a mistaken and shamed character - carried the production throughout."
Clifford Graham, Artslink.co.za
"Sarah-Jane Brandon sings with creamy perfection throughout as the lovelorn Countess, opening with “Porgi Amor” and delivering a fabulous “Dove Sono” which, in its piano moments, brought us all to the edge of our seats with its tender intensity.”
Charlotte Valori, Bachtrack
"The absolute vocal star of the evening was Sarah-Jane Brandon."
Alexander Campbell, Classical Source
"I have rarely heard “Dove Sono” sung with more affecting purity; her Contessa is also a perfectly judged portrait of a gracious and spirited woman humiliated.”
Richard Morrison, The Times
"The evenness of Brandon's tone is remarkable, so too is the creaminess of her top notes, beautifully sustained and projected.”
Neil Fisher, The Times
"Sarah-Jane Brandon was radiant as the Countess, her exquisitely beautiful “Dove Sono” the vocal standout of the evening, she spun glorious high notes of a golden timbre to match. In the emotive conviction of her singing, one felt all the insecurity and the anguish of this most sympathetic of spurned wives.”
John E de Walt, Opera Brittania