Emma Carrington

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Emma studied at the Royal Academy of Music. Recent and forthcoming engagements include Rossweisse Die Walküre and covering Erda Das Rheingold and Siegfried at Royal Opera House‚ Maddalena Rigoletto, Orlofsky Die Fledermaus‚ Third Lady The Magic Flute, Mercedes (and covering title role) Carmen (Welsh National Opera)‚ 3rd Secretary Nixon in China (Scottish Opera), Hippolyta A Midsummer Night’s Dream and Nefertiti Akhnaten (English National Opera)‚ Baba the Turk The Rake’s Progress (Santiago‚ Chile)‚ Konchakovna Prince Igor (Chelsea Opera Group)‚ Schwertleite Die Walküre(Opera North at Leeds Town Hall‚ Birmingham Symphony Hall‚ The Sage Gateshead and the Lowry)‚ Mazet in Gounod’s La Colombe(Buxton Festival)‚ Ježibaba Rusalka (Grange Park Opera)‚ Sorceress Dido and Aeneas and Matilda/George in the world premiere of The Cautionary Tales (Opera North)‚ Salty Sue Captain Blood’s Revenge (Brighton Festival and Glyndebourne on Tour) and BBC’s Friday Night is Music Night Ten Pieces Prom.

Engagements postponed or cancelled due to Covid include 1st Maid Elektra (ROH, and with the Bournemouth Symphony Orchestra) and 3rd Secretary Nixon in China (English National Opera).

Further appearances include Farzana in Wagner’s Die Feen and Ursula Béatrice et Bénédict (Chelsea Opera Group)‚ Marcellina The Marriage of Figaro (conducted by Sir Colin Davis)‚ Third Lady (British Youth Opera)‚ Older Woman in the London premiere of Dove’s Flight‚ Mistress Quickly Falstaff (Nevill Holt)‚ Kabanicha Katya KabanovaRemembrance Day and White (Scottish Opera)‚ Juno Semele at the Amersham Festival‚ Feklusa Katya Kabanova and Altichiara Francesca da Rimini at Opera Holland Park and Miss Baggot The Little Sweep for Jubilee Opera. She also covered the roles of Jezibaba and Third Nymph Rusalka (Glyndebourne)‚ Pauline The Queen of Spades (Opera North)‚ Storge Jephtha and Ursula Béatrice et Bénédict (Welsh National Opera).

On the concert platform‚ Emma has performed St. Matthew Passion‚ Monteverdi’s Vespers‚ Handel’s Messiah‚ Stravinsky’s Symphony of Psalms‚ Bach’s Christmas Cantatas‚ Mendelssohn’s Elijah and Walpurgisnacht‚ Rossini’s Petite Messe Solennelle‚ Haydn’s Nelson Mass‚ Vivaldi’s Gloria‚ Schubert’s Mass in E Flat‚ Tippet’s A Child of Our Time‚ Britten’s Spring Symphony at Salisbury Cathedral and Janacek’s Diary of One Who Disappeared at the Wigmore Hall.


Rigoletto, Welsh National Opera

As usual with this company, the minor parts are no less strongly cast... Emma Carrington plays just the right, vulgar, slightly overdone sister such a man might have.

The Arts Desk (September 2019)

...while British mezzo Emma Carrington is superbly seductive in the role of Maddalena, the woman who persuades her brother Sparafucile (the hired killer) to spare the Duke. It is the Act Three quartet ‘Bella figlia dell’amore’, sung by the Duke, Gilda, Rigoletto and Maddalena, that is the musical climax of the opera. It was, for me, the highlight of the evening, sung and staged superbly. It is example, par excellence, of how opera enables different emotions to be conveyed simultaneously in a dramatic and clear way.

Wales Arts Review (October 2019)

With Emma Carrington’s Maddalena a brazen hussy who yet showed traces of conscience.

Opera Magazine (December 2019)

In support of these main roles was a strong and well-coordinated chorus, and two singers of note; James Platt as Sparafucile and Emma Carrington as Maddalena. The bass notes of Platt were almighty, weighty and vibrant. Carrington gave a charismatic performance and her vocal blended in superbly well with the famous quartet “Bella figlia dell’amore”, the highlight of the performance. All these musical highlights were mounted atop a solid and flawless orchestral performance by the WNO Orchestra, conducted by Alexander Joel.

Bachtrack (November 2019)

Emma Carrington as the assassin’s sister Maddalena, bringing a sleazy touch of humour to proceedings.

Bum on a seat.wordpress (November 2019)

Support come from the enormously menacing voice of James Platt (Sparafucile), and the richly toned, seductive Emma Carrington (Maddalena).

LMT (November 2019)

Credit must also go to Emma Carrington for her robust and affecting performance as Maddalena, another victim of the Duke...

We reviewed this (November 2019)

Emma Carrington as Maddalena completes the texture of the quartet in the final act, with a set of performances expertly interlaced with each other that is one of the highest points in the production.

Art scene in Wales (November 2019)

James Platt and Emma Carrington, in the lesser but nevertheless important roles of the mercenary killer Sparafucile and the drug-taking tart Maddelana are both excellent.

The Reviews Hub (November 2019)

Wonderfully supported by James Platt’s cavernous Sparafucile and Emma Carrington’s conflicted, drug-addled Maddelena.

The Stage (November 2019)

The Act 3 quartet was a dramatic and musical highlight, Emma Carrington’s Maddelena descending from atop the tawdry inn to seduce a Duke she seemed to truly love, just as blindly as Gilda.

Opera Today (November 2019)

The Magic Flute, Welsh National Opera

The three ladies‚ clad in black dresses and white pinafores‚ provided a gleefully oestrogen-fuelled contribution in their lustful advances on the unconscious Tamino‚ and sang with pleasing balance as a trio...

Bachtrack (February 2019)

Anna Siminska, a firebrand Queen of the Night already seen at Covent Garden, nailed her glittering high notes in both arias and was attended by one of the best-sung trios of ladies I can remember: Jennifer Davis, Kezia Bienek and Emma Carrington.

The Sunday Times (March 2019)

A Midsummer Night's Dream, English National Opera

The gorgeously costumed Theseus and Hippolyta from respectively Andrí Björn Róbertsson and Emma Carrington complete the consistently strong line-up.

Classical Source (March 2018)

In the final scene Andri Björn Robertsson and Emma Carrington as Theseus and Hippolyta provide a welcome vocal contrast to the lovers...

Mark Ronan Theatre Reviews (March 2018)

Die Fledermaus‚ Welsh National Opera

Even the normally bored Prince Orlofsky‚ sung with an admirable Russian accent by Emma Carrington‚ looks slightly amused at the chaos.

BachTrack.com (June 2017)

Prince Orlofsky is a tough role‚ and Emma Carrington is particularly good with dialogue and at evincing the boredom of the Russian millionaire: ‘Ich lade gern mir Gäste ein’‚ about an adolescent experiencing issues with a breaking voice‚ was stylishly sung.

Classical Source (June 2017)

Prince Igor‚ Chelsea Opera Group

Emma Carrington seemed to have conquered her announced cold to provide an impassioned and vocally sensuous account of Konchakovna‚ her duet with Andrew Ree’s subtly voiced Vladimir Igoryevich being one of several genuine highlights.

Opera Magazine (December 2016)

Akhnaten‚ English National Opera

The score calls for relatively solo singing‚ but the two women completing the central trio were well taken by Emma Carrington (sculpting a warm mezzo line as Nefertiti) and Rebecca Bottone (bright - toned as Queen Tye.

Opera Magazine (May 2016)

Emma Carrington and Bottone as Nefertiti and Queen Tye‚ respectively‚ match Costanzo with their beautiful sound. When singing together – like in the Window of Appearances scene – the three become one polyphonic sound that moves and soothes. The powerful love duet between Akhnaten and Nefertiti is a masterclass in balance and sound quality‚ carrying the melody with ease and soul.

A Younger Theatre (March 2016)

...Add to this Anthony Roth Costanzo’s extraordinary other-wordly voice – made even more extraordinary when combined with Emma Carrington’s beautiful‚ statuesque Nefertiti

Cross Eyed Pianist (March 2016)

His bittersweet timbre mingles voluptuously with the darker tones of Emma Carrington‚ playing his wife Nefertiti

Evening Standard (March 2016)

Emma Carrington was a rich-toned Queen Nefertiti

MusicOMH (March 2016)

wife Nefertiti was sung with warm vibrancy by Emma Carrington‚ both of them with concentrated levels of intensity. The intermingling lines of Akhnaten and Nefertiti’s Act II love duet were a particular musical highlight

Opera Britannia (March 2016)

they are serenely sung by Emma Carrington and Rebecca Bottone

Sunday Times (March 2016)

No praise too high for Emma Carrington’s luscious Nefertiti

The Independent (March 2016)

Emma Carrington‚ new to ENO‚ impresses as Nefertiti

The Times (March 2016)

Emma Carrington’s Nefertiti‚ by contrast‚ radiates sensuality‚ bringing a richness to the duets...

Timeout (March 2016)

The Magic Flute‚ Welsh National Opera‚ Birmingham

There was also an impressive trio of ladies – nicely individual and yet formidable as a team

Classical Source (June 2015)

The ensemble support was fine too: including the splendidly lascivious Three Ladies

The Birmingham Post (June 2015)

Die Walküre (Act III) Welsh National Opera at Millennium Centre

And the vocal prowess of every performer matched that of the orchestral players‚ starting with an impressive band of warrior maidens. Each and every one was full-blooded in their singing but there was also something else. Perhaps it was the obvious enjoyment these eight singers conveyed singing as ensemble‚ but there was not only a sense of sisterly camaraderie but also a real sense of competition between these maidens. And special mention must go to Katherine Broderick‚ Meeta Raval‚ Camilla Roberts and Emma Carrington. Superb

LietoLondon (April 2015)

The Magic Flute‚ Welsh National Opera

The appearance of the aproned Three Ladies got things racing along with excited high-spiritedness. First Lady Camilla Roberts’s crystal clear tone and vibrancy delivered a strong lead for the individually differentiated but well-blended trio of ‘maids’‚ while Emma Carrington’s Third Lady provided a well-centred foundation for Roberts’ and a vivacious Máire Flavin. All three made the most of Jeremy Sams’s engaging translation to hook us into the absorbing quest ahead‚ their lively rivalry and sincere concern for Tamino stimulating our own curiosity and compassion

Opera Today (March 2015)

...the Queen’s Three Ladies. Well sung by Camilla Roberts‚ Máire Flavin and Emma Carrington

Seen & Heard International (March 2015)

This was altogether a strong cast...her three ladies (Camilla Roberts‚ Máire Flavin‚ Emma Carrington) equally attractive in tone‚ lifting their skirts to entice Tamino into breaking his vows and losing Pamina

Mark Ronan (February 2015)

...excellent‚ as were the three ladies (Emma Carrington‚ Camilla Roberts and Máire Flavin)

South Wales Argus (February 2015)

Camilla Roberts‚ Máire Flavin and Emma Carrington are perfect. They all sing with great clarity and have great delight in their roles

Theatre in Wales (Februrary 2015)

Gorgeous of voice and sensual by nature are the Three Ladies (Camilla Roberts‚ Emma Carrington and Maire Flavin)

WalesOnline.co.uk (February 2015)

La Colombe‚ Buxton Festival

...and his servant Mazet‚ a travesti role impressively sung by Emma Carrington

Opera (September 2013)

Mazet‚ a trouser role for alto Emma Carrington... Carrington was excellent throughout the work‚ singing and acting with aplomb and squeezing as much humour as possible from her ample part

BachTrack.com (July 2013)

The cast nevertheless give it their all...manfully supported by Emma Carrington as his mezzo male servant

The Guardian (July 2013)

The disgruntled servant Mazat‚ a travesty role sung by Emma Carrington‚ delivers a misogynistic rant that is as ferocious as the tirades of Mephistopheles in Faust

Observer on Sunday (July 2013)

Emma Carrington was brilliant in the travesty role of Mazet‚ convincing from the word go as a rather grubby servant boy‚ full of charm and cunning. A truly outstanding performance. She/he gets the operas opening aria as Mazet sings whilst feeding the live dove (here in a cage)

Planet Hugill (July 2013)

In the travesti role of his servant Emma Carrington sang and acted with conviction

Seen & Heard International (July 2013)

The whole production is splendidly played...but Emma Carrington steals the show with her comedic gifts as Mazet

The Arts Desk (July 2013)

All the recipients were women‚ including two in trouser roles. One of these was the mezzo-soprano Emma Carrington who in La Colombe made such a fine job of showing us the comic servant Mazet that it was a genuine surprise when this short-trousered urchin began to sing. Until the spoken dialogue came‚ when the female timbre of the voice could be recognised‚ I had thought (programme unconsulted) that we were listening to a counter-tenor

The Oxford Times (July 2013)

Good things too from Emma Carrington’s trousered servant Mazet

The Times (July 2013)

Die Walküre‚ Opera North

The Valkyries acquitted themselves confidently‚ not least in their final ensemble

Opera Magazine (August 2012)

It is the third act that confirms the success of the concert staging. The full nine strong chorus of Valkyries fill the stage and merge with the massive orchestra lead by conductor Richard Farnes in the magnificent "Ride of the Valkyries." This is the aural equivalent of starting with an earthquake and building to a climax. Heard live and benefiting from the superb Lowry acoustics it is an awesome experience and you just sit back‚ close your eyes and enjoy. Really‚ when the music and vocals are this good‚ elaborate staging is superfluous and might even be a distraction

What's On Stage (July 2012)

A telling example of what is lost and what is gained vocally comes in the Ride of the Valkyries: with the singers lined up across the front of the stage the individual vocal lines come through with unusual clarity to exciting dramatic effect

What's On Stage (June 2012)

Equally impressive were her eight Valkyrie sisters‚ all of whom had a ferocious presence‚ both vocally and in character. Together‚ Miriam Murphy‚ Katherine Broderick‚ Jennifer Johnston‚ Emma Carrington‚ Meeta Raval‚ Madeleine Shaw‚ Antonia Sotgiu and Catherine Hopper made a fiercely resonant sound which carried over the orchestra‚ even when they were playing with all their might

Opera Britannia (June 2012)

There was a crack team of Valkyries

The Telegraph (June 2012)

...the Valkyrie pack all held the stage well

The Times (June 2012)

Die Feen‚ Chelsea Opera Group‚ Queen Elizabeth Hall

...Eva Ganizate and Emma Carrington complemented each other as respectively sympathetic and scheming fairies Zemina and Farzana

Classical Source (March 2013)

All the principals did well...The dramatic mezzo of Emma Carrington‚ as Farzana‚ also caught the ear

The Guardian (March 2013)

This concert performance from the Chelsea Opera Group‚ conducted by Dominic Wheeler‚ featured some stunning solo singing...As the fairies Farzana and Zemina‚ Emma Carrington’s rich mezzo-soprano contrasted well with Eva Ganizate’s soprano

Music OMH (March 2013)

My favourite characterization of the whole evening‚ however‚ came from Emma Carrington‚ who imbued the role of the meddling fairy Farzana with a degree of heavy irony that was delicious to behold. In addition‚ her mezzo is wonderfully dusky

Opera Britannia (March 2013)

I absolutely adored (a word I rarely use in a review) the two fairies‚ Farzana and Zemina‚ they obviously had completely rehearsed and were wonderful. As Farzana‚ Emma Carrington’s facial expressions revealed the full gamut of her character’s emotions and hers was a totally engaging performance

Seen & Heard International (March 2013)

...conviction proved to be all‚ as it was for a villainess fairy suddenly thrust to the fore as his enemy‚ resplendent mezzo Emma Carrington as devious Farzana

The Arts Desk (March 2013)

Maria Padilla‚ Chelsea Opera Group

Emma Carrington in the role of Francisca had some lovely moments and it is a much bigger voice than I previously supposed

capricciomusic (May 2012)

Emma Carrington was a lively and committed Francisca

MusicalCriticism.com (May 2012)

Chelsea Opera Group fielded a strong cast with Nelly Miricioiu as Maria de Padilla‚ Marianne Cornetti as her sister Ines‚ Emma Carrington as Francisca

Opera Today (May 2012)

Best of all was Emma Carrington who made quite an impact in the short role of Francisca; she has a wonderfully rich imposing sound that I look forward hearing in something more worthwhile sooner rather than later.

Seen and Heard (May 2012)

Béatrice et Bénédict‚ Chelsea Opera Group

Emma Carrington brought her luxuriously velvety mezzo to Ursule; the duet at the end of Act I was the musical highlight of the evening.

Jonathan Burton - Words and Music (November 2011)

Carrington is possessed of an extremely striking contralto voice and I would love to have heard more of her.
Labin and Carrington’s voices combined superbly... All three women combined in another highlight‚ the trio in Act 2. Again the 3 voices blended beautifully and these two female ensemble pieces were the stand out moments in the performance.

Planet Hugill (November 2011)

Rusalka‚ Grange Park Opera

Emma Carrington contributed a genuinely scary Jezibaba: her elegance and hauteur made the session with the meat cleaver somehow more frightening‚ and she sang with passion and conviction

Opera Magazine (August 2011)

Emma Carrington’s suave platinum blonde Witch

The Telegraph (June 2011)

Francesca da Rimini‚ Opera Holland Park

...the wonderful quartet of Francesca’s maid servants‚ Emma Carrington...

Musicweb International (August 2010)

Classier performances were to be found among Francesca’s retinue. Gail Pearson‚ Madeleine Shaw‚ Emma Carrington and Anna Leese were an endearing and vocally sumptuous quartet as her four ladies-in-waiting‚ with Carrington’s warm mezzo and Leese’s honeyed soprano particularly memorable

Opera Critic (August 2010)

Musical highlights include the delightful Act III spring song from Francesca’s ladies (Madeleine Shaw‚ Emma Carrington‚ Anna Leese and Gail Pearson)

Oxford Times (August 2010)

Each of the singers - Madeline Shaw‚ Emma Carrington‚ Anna Leese and Gail Pearson deserves equal praise for coaxing the diversions to life...

Arts Desk.com (July 2010)

Katya Kabanova‚ Scottish Opera

Emma Carrington made a vocally sumptuous Kabanicha

Opera Magazine (November 2009)

Emma Carrington a vocally impressive but overly glamorous Kabanicha

Financial Times (September 2009)

As the malevolent Kabanicha‚ Emma Carrington may not have the authority of an older figure‚ but her arch sexiness is disturbing in its own way

The Guardian (September 2009)

Emma Carrington as Kabanicha‚ the mother-in-law from hell‚ was deliciously vampish. Instead of the usual hectoring morality and outraged Hyacinth Bucket type creation we are all used to seeing‚ Miss Carrington’s Kabanicha was a touch seedy‚ morally bankrupt and personally dangerous. More Mae West than Mrs Bucket‚ her slow destruction of her daughter-in-law’s life was pretty vicious

Opera Britannia (September 2009)

White‚ Scottish Opera

Emma has taken full possession of her part and is acting with the harrowing weight of past loss: I couldn’t imagine the character any better than this

Financial Times (February 2009)

Flight‚ British Youth Opera

The soiltary Older Woman – a touching portrayal by Emma Carrington – faces the future with great equanimity

Opera Magazine (November 2008)

Emma Carrington’s Older Woman completely reinvented the Nuala Willis role with her lovely big alto and total stage-assurance

Opera Now (November 2008)

La Calisto‚ Royal Academy of Music

The mezzo Emma Carrington stood out in the dual role of the goddess Diana and as Giove disguised as Diana‚ projecting strongly

Opera Magazine (July 2008)

Le Nozze di Figaro‚ Royal Aacademy of Music

Emma Carrington was glorious as the pantomime-dame Marcellina and worth looking out for in the future

Opera Now (April 2008)

Emma Carrington’s Marcellina‚ which was astonishingly generous in tone and projected a vivacious stage presence

Opera Magazine (January 2008)

I especially admired Emma Carrington’s Marcellina

Musical Pointers (November 2007)

Of other singers who caught my ear and eye: the Characterful and fruity voiced Marcellina of Emma Carrington

The Times (November 2007)

Carmen‚ Welsh National Opera

Frasquita and Mercédès were well portrayed by Samantha Hay and Emma Carrington

Seen & Heard International (November 2014)

Frasquita (Amy Freston) and Mercédès (Emma Carrington) were sharply characterised and brightly sung

Birmingham Post (November 2014)

Emma Carrington’s Mercédès gave notice of a future Carmen

Classical (November 2014)

There were elements which charmed the audience...such as the comic fortune-telling duet between Frasquita and Mercedes in Act Three

Seen & Heard International (October 2014)

It’s testimony to the singers in the smaller roles‚ particularly Samantha Hay and Emma Carrington‚ packing pleasingly contrasting voices as Frasquita and Mercedes‚ that the ensembles like the Card Trio and quintet had more show-stopping quality than the familiar arias

What's On Stage (October 2014)

...good support from Amy Freston (Frasquita)‚ Emma Carrington (Mercedes)

The Arts Desk (September 2014)

Amy Freston as Frasquita and Emma Carrington as Mercedes‚ provide some much needed verve

WalesOnline.co.uk (September 2014)

The Rake’s Progress‚ Teatro Municipal de Santiago

Dentro de las estupendas voces del elenco de cantantes‚ debemos destacar nitidamente la del tenor estadounidense Jonathan Boyd‚ como Tom Rakewell; la soprano australiana Anita Watson‚ como Ann Trulove; la mezzosoprano británica Emma Carrington‚ como Baba the Turk y el bajo-barítono estadounidense Wayne Tigges‚ como Nick Shadows (El Diablo) /// Among the great voices of the cast of singers‚ we must emphasize the US tenor neatly Jonathan Boyd‚ as Tom Rakewell; Australian soprano Anita Watson‚ as Ann Trulove; Emma Carrington British mezzo-soprano as Baba the Turk and American bass-baritone Wayne Tigges‚ as Nick Shadow (El Diablo)

Radio Bio-Bio (July 2015)

...the International cast was outstanding. The leading quartet of Jonathan Boyd (Tom‚ the libertine)‚ Anita Watson (Anne Trulove)‚ Wayne Tiggers (Nick Shadow) and Emma Carrington (Baba)‚ gave life to their characters and dazzled with their powerful voices

BeethovenFM.cl (July 2015)

De las actuaciones femeninas‚ fue la de Emma Carrington como Baba la Turca la más llamativa‚ tanto por su caracterización física como por el empoderamiento mostrado en su papel‚ que más de alguna sonrisa arrancó de los auditores con su jocosa interpretación...La actuación de Emma Carrington‚ como Baba la Turca acaparó todas las miradas /// Of all the female performances Emma Carrington as Baba the Turk was the most striking both for its physical characterization as shown in her empowering the role‚ which started more than a smile and with humorous interpretation...Emma Carrington ’s performance ‚ as Baba the Turk captured all eyes

Desde la Butaca (July 2015)

La mezzo Emma Carrington fue un deleite con su intensa y divertida Baba la Turca /// The mezzo Emma Carrington was a delight with her intense and fun Baba the Turk

Economía y Negocios (July 2015)

The mezzo Emma Carrington was a delight with her intense and fun Baba the Turk

El mercurio (July 2015)

...Emma Carrington‚ en su papel de Baba‚ se roba mucho de la película ///...Emma Carrington‚ in her role as Baba‚ steals the show

La Canción no es la misma (July 2015)

Emma Carrington‚ fue Baba la Turca‚ ella que tiene un físico estupendo‚ impacta enormemente al ser convertida en un travesti‚ cantó con poderosa y bella voz /// Emma Carrington as Baba the Turk‚ has a great physical‚ impact (turned into a transvestite) and sang with powerful and beautiful voice

Visionescriticas.com (July 2015)