Rebecca Bottone was born in Bedfordshire and is a graduate of the Royal Academy of Music.
Recent and future engagements include Marina Litvinenko The Life and Death of Alexander Litvinenko (Grange Park Opera); Queen Tye Akhnaten (English National Opera), Ilia Idomeneo and Giunia Lucio Silla (Buxton Festival)‚ Despina Cosi fan Tutte, Bauci Bauci e Filemone‚ Amore Orfeo ed Euridice and Weltgeist Die Schuldigkeit des ersten Gebots (Classical Opera)‚ Yum Yum The Mikado‚ Clorinda La Cenerentola and Mabel The Pirates of Penzance (Scottish Opera)‚ Haydn's Creation (Zurich Opera), Amor Orfeo (La Nuova Musica)‚ Apolle e Dafne (Karlsruhe Handel Festival)‚ Yniold (Hong Kong Arts Festival)‚ Sophie The Mother and Mozart vs Machine (Mahogany Opera Project)‚ Constance The Sorcerer (National Gilbert & Sullivan Company)‚ Magdalena La Resurrezione (Lyon), Dalila in Handel's Samson, Judas Maccabeus and Fight for a Song with Capella Cracoviensis, Messiah (Bridgewater Hall with Raymond Gubbay), Petite Messe Solenelle (Nico and the Navigators), and Last Night of the Proms with the Royal Philharmonic Orchestra.
Engagements cancelled or postponed due to Covid include Magdalena La Resurrezione in Lyon, Dalila Samson with Capella Cracoviensis, Mozart's Requiem with the Hong Kong Philharmonic and Handel's Messiah at the Bridgewater Hall with the Halle.
Further appearances include First Innocent in the world premiere of Birtwistle’s Minotaur and First Niece Peter Grimes (Royal Opera House‚ Covent Garden)‚ Cricket and Parrott in the world premiere and subsequently the USA premiere of Jonathan Dove’s The Adventures of Pinocchio (Opera North and Minnesota Opera)‚ Blonde Die Entführung aus dem Serail (Aix-en-Provence Festival conducted by Minkowski)‚ Marie in the world premiere of Rufus Wainwright’s Prima Donna (Manchester International Festival)‚ Tytania A Midsummer Night’s Dream (Garsington Opera)‚ Amanda in Ligeti’s Le Grand Macabre (English National Opera)‚ Anne Egerman A Little Night Music‚ Johanna Sweeney Todd‚ The Sound of Music and Carrie Carousel (Théâtre du Châtelet‚ Paris)‚ Rosmene Imeneo (The Barbican)‚ Peter Pan and Yniold Pelléas et Mélisande (Welsh National Opera)‚ Semira Artaxerxes and the Maid in Ades’ Powder Her Face at the Linbury Studio‚ Ilia at Blackheath Halls‚ and Hugh Wood’s Epithalamion at the BBC Proms.
Rebecca has worked with many of the world’s leading orchestras‚ including the SCO‚ the RSNO‚ the Iceland Symphony Orchestra and the Gabrieli Consort and Players under Paul McCreesh; she has sung Charmeuse in Thais under Eschenbach with Renee Fleming and also performed with the AAM and the RAI Turin under Christopher Hogwood; the CBSO‚ the Halle and the Manchester Camerata under Stephen Bell; St John Passion with the Orchestra Sinfonica di Milano Giuseppe Verdi at the Teatro degli Arcimboldi in Milan; the Philharmonia Orchestra under Sir Charles Mackerras; and the Tonhalle Zürich under Sir Mark Elder.
Recordings include Cis Albert Herring with Richard Hickox and EMI and two Rossini roles for Opera Rara‚ Eurice Adelaide di Borgognia and Cleone Ermione. She has made appearances in BBC2’s Television documentary The Genius of Beethoven with the English Chamber Orchestra‚ David Starkey’s Music and Monarchy and the role of a singer in Steven Poliakoffs acclaimed film Capturing Mary.
Throw in Soprano Rebecca Bottone for good measure and you find yourself captivated for two hours.
Many years ago I performed in The Merry Widow on this very stage and remember being mesmerised by Franz Lehar’s Vilja. So, I sat like a fidgeting child waiting for Bottone to pay tribute to one of Vienna’s greatest composers and she didn’t let me down.
She was exquisite and it was a joy to witness such a performer and listen to her magnificent, blemish-free voice and stunning range that left the high brows of Bradford shouting ‘bravo’ and stamping their feet.
While Yvonne Howard and Rebecca Bottone give outstanding renditions of comic classics.
..the almost capacity Assembly Hall audience was transported to Vienna, that most magical of all cities for this concert. Singing with the orchestra was the outstanding coloratura soprano, Rebecca Bottone, and the programme encompassed a range of music where the inspiration was truly all-Viennese...In an afternoon of surprises and champagne moments...
Richard Strauss was married to a formidable lady, Pauline, but she was also an operatic singer of repute and he composed many of his songs with her in mind. Pauline obviously had a great technique which soloist, Rebecca Bottone, also very capably displayed. Before the interval she sang three songs by Richard Strauss. ‘Morgen’ a beautiful, very tender, song where the voice is accompanied by solo violin, sympathetically played by the orchestra’s guest leader Pauline Lowbury. Next, two songs ‘Ich wollt ein Sträusslein binden’ and ‘Amor’. Here the vocal range is considerable and as if that wasn’t taxing enough, the vocal line contains many ‘unusual’ intervals to negotiate.
Then in a change of costume into a slinky red 1-piece [!] plus on-stage acting to tease the audience with the seductive nature of the lyrics, Rebecca Bottone returned with the ‘Audition Aria’ by Johann Strauss from his operetta Die Fledermaus. She followed with the equally well-known aria by Franz Lehár ‘Meine Lippen, sie küssen so heiss’ [‘My lips, they kiss so hot’] from his last operetta Giuditta.
Rebecca Bottone’s last appearance for the afternoon featured a coloratura version of the waltz ‘Village Swallows from Austria’ by Josef Strauss. This is where she demonstrated, yet again, her vocal dexterity – it almost defied belief that the human voice could sing like this. She was accompanied by appropriate bird ‘tweetings’ from the percussion section. What a reception she received – justifiably so.
The voices are unimpeachable... Rebecca Bottone’s equally clear soprano makes the best of Bolton’s lyrical moments as Marina...Bolton reserves some of his most gorgeously lyrical music for this and Bottone sings it beautifully
Rebecca Bottone shines as Litvinenko’s wife, Marina, her bright, juicy soprano filling in the gaps supplied by Adrian Dwyer’s occasionally arid tenor as her husband.
The music-making itself is top-notch, with superb performances all around... He was matched in lyrical intensity by Rebecca Bottone as his wife Marina, who sang with crystalline fragility in her meeting with Sasha in Lefortovo prison.
The quality of the singing was excellent, particularly Adrian Dwyer as the eponymous hero and Rebecca Bottone as his wife Marina
expressively sung by Rebecca Bottone
As Despina and Don Alfonso, Rebecca Bottone and Richard Burkhard brought a real sense of character to the piece, and created the engine by which the drama seemed to unfold even in this concert setting. Bottone's Despina was full of vibrant theatricality in everything she did, even when sitting demurely waiting for orders. This was a masterly display of timing and theatrical presence, but also the role was beautifully and engagingly sung, with Bottone clearly having great fun.
Rebecca Bottone a été brillante dans le rôle du Dieu Amour...
Bottone and Belkina sing with subtle tenderness, drawing a suitable contrast between the pastoral gentleness of this work as against the high drama of Orfeo...
Bauci e Filemone, Page’s first offering, was dramatically wispy, but blessed with endearing music. Some of it was pitched high in the sky — easily reached, though, by Rebecca Bottone, cast as one of two shepherd lovers who fortunately get on the right side of Jupiter (Gwilym Bowen, promising), a god with a short fuse.
Fortunately there was rather more elegance musically... Rebecca Bottone was a sensitive and at times sweet-toned Bauci...and, having survived the steps, a charming Amore in Orfeo.
At the heart of the production stood...Rebecca Bottone (Queen Tye‚ his mother): these three high voices were well matched and subtly blended.
Rebecca Bottone returns to the role of Queen Tye‚ Akhnaten’s mother‚ her soprano scaling Glass’ dizzying heights with ease.
Rebecca Bottone‚ a strong stage presence as the politically attuned Queen Tye‚ also makes a dazzling and ethereal contribution high above the stave.
Equally fascinating‚ was Costanzo’s on-stage relationship with his mother‚ Queen Tye‚ sang by Rebbeca Bottone. If with her white-powdered face‚ tightly curled hair and almost stony gaze‚ she slightly reminded me of the Virgin Queen she has a magnificently authoritative presence and powerful‚ resonating voice to match.
Rebecca Bottone returns as Akhnaten’s mother‚ Queen Tye‚ whose voice complements Stevenson and Costanzo perfectly. Heard in trio (the Window of Appearances at the end of the first act)‚ the effect is remarkable.
Katie Stevenson as Akhnaten’s wife Nefertiti and Rebecca Bottone as his mother Queen Tye weave richer vocal textures that convey the growing unease around the cult of Aten.
Rebecca Bottone’s needle-bright ’Tornami a vagheggiar’ was another example of unintentional scene-stealing‚ and she was superbly...
The simple stagecraft‚ which included instrumental soloists coming to the centre on occasions‚ worked well‚ with Rebecca Bottone’s performance of Morgana’s ‘Tornami a vagheggiar’ proving to be one of several moments over the evening when every aspect of music and performance came together perfectly. Not only did Bottone sing and act this challenging aria brilliantly‚ but‚ with Leo Duarte on the oboe standing next to her‚ the orchestra seemed almost physically to radiate out the sound that this pair generated.
Rebecca Bottone charms irresistibly as Morgana...
Rebecca Bottone used her flexible soprano intelligently as Ilia‚ notable in the aria mentioned above (Se il padre perdei)‚ which conjured gorgeous intimacy.
In the meantime‚ Ilia‚ in love with Idamante after he releases her from her chains at the start of the opera‚ begs to recognise Idomeneo as a surrogate father. In this role the charming purity of Rebecca Bottone’s singing and dreamy quality of her portrayal was a highlight of the performance.
Rebecca Bottone made a striking impression in her first aria‚ giving Ilia a real feeling of haunted intensity.
As Ilia‚ loved by‚ and loving Idamante‚ Rebecca Bottone‚ who sang Giunia last year‚ sings with bright even lyric tone and acts convincingly.
...while as Ilia‚ Bottone combines a wide-eyed intensity with singing of a plaintive‚ plangent sweetness that’s genuinely affecting‚ particularly in her aria with Idomeneo‚ "Se il padre perdei". It’s the subtlest and most expressive vocal performance I’ve heard from Bottone‚ and I’ve heard her Yum-Yum.
...Rebecca Bottone is persuasive as the Trojan princess Ilia daughter of the defeated enemy with whom Idamante is in love.
Rebecca Bottone‚ singing Leon’s sometimes girlfriend Sophia‚ spun her aerial lines to haunting effect...
Ana Maria Labin‚ Helen Sherman‚ Rebecca Bottone and other singers take spine-tingling leaps into the stratosphere and always come up smiling.
...Rebecca Bottone also delivered a fine performance as Amore. Possessing a clear and quite forthright tone‚ her voice took on a particular sweetness in the upper register and a highly pleasing depth in the lower.
Rebecca Bottone sparkled initially in “Ye men of Gaza”‚ and delivered a perfectly judged and technically immaculate “Let the bright seraphim” with pure bright tone‚ accurate coloratura‚ pretty top notes and the sweetest imaginable smile.
Out of a finely balanced programme of familiar favourites and welcome additions‚ the highlight was without any doubt the mellifluous coloratura of Rebecca Bottone. Opening with the audition song from Die Fledermaus she moved effortlessly into Schenkt man sich Rosen in Tyrol from Zeller’s Der Vogelhandler‚ later adding the waltz song from Edward German’s Tom Jones...Rebecca Bottone returned to bring us a vocal setting of Strauss’ waltz Wo die Citronen blüh’n and‚ the vocal highlight of the afternoon‚ Vilja from The Merry Widow.
It was a slick‚ confident production from Mahogany Opera‚ nonetheless‚ with brilliant performances – best of all‚ soprano Rebecca Bottone as a garish Mozart.
All of this zany action forges a surreal‚ vaudevillian and hyped-up show trial that puts Mozart - brilliantly sung and acted by the English-born soprano‚ Rebecca Bottone‚ whose dress and make-up depicted the wunderkind from Salzburg so vividly - firmly in the dock.
Rebecca Bottone’s Giunia‚ much the most complicated character‚ was equally well-judged‚ as she moved from cold fish to determined lover in convincing stages.
Rebecca Bottone was well up to the vocally dazzling task of Giunia‚ Cecilio’s wife and the proud rejector of Silla’s unwelcome love.
Rebecca Bottone was also on top form‚ as his faithful fiancée‚ Giunia‚ looking terrific and singing with beauty and sensitivity over a wide range (in‚ for instance‚ Frà I pensier più funesti di morte).
As a beautiful Giunia in her long dress and red hair‚ Rebecca Bottone was barely off the stage‚ providing a wonderful focal point for the varying traumas‚ and singing a superbly emotional Act III aria after her betrothed Cecilio has apparently been executed.
...Rebecca Bottone’s imperious Giunia and Karolina Plickova’s vacillating Lucio Cinna all make their mark musically.
Mozart wrote Lucio Silla when he was 16 and eager to wow Milan. Some of its arias are longer than whole movements in his symphonies and demand heroic stamina and virtuosity. So I have nothing but admiration for Rebecca Bottone...
None of the critics around me could remember a previous professional staged performance of Lucio Silla‚ a tale of a Roman dictator who improbably allows the sincere love of Giunia (Rebecca Bottone on outstanding form) for Cecilio...
...Deborah‚ sung by English sopraono Rebecca Bottone‚ who has a very pleasing and pure voice‚ with crystalline high notes and accurate coloratura.
Dominating proceedings was Rebecca Bottone’s Worldly Spirit who with her large pile of blond hair‚ dazzling smile and amorous approach seemed to be a reincarnation of one of Barbara Windsor’s Carry On characters. I almost expected a cry of “Saucy!”. Vocally‚ she displayed a fine bubbling top that easily coped with the high notes and trills of the character‚ at her best in “Life is pleasure‚ do not waste it”.
Soprano Rebecca Bottone sang with thrilling personality - and a few hints of Audrey Luna - as Worldly Spirit‚ proving that Mozart always did love to pair a coloratura soprano with the characters who have a so-bad-it’s-a-good-influence on the hero of the story.
Rebecca Bottone’s Worldly Spirit‚ luring all along the paths of wickedness‚ was impudent and virtuosic.
The audience again enjoyed the mix and clearly were captivated by the coloratura excellence of soprano Rebecca Bottone.
No doubt she offered not only beautiful and masterly singing but also full value for money‚ serving up six classics from Josef Strauss as well as Franz Lehar‚ Gilbert and Sullivan‚ Fritz Kreisler and Carl Zeller.
She also left the Dome faithful in seventh heaven with an Italian encore of Arditi’s Il Bacio.
In between the orchestral delights the charming Rebecca Bottone‚ a soprano who loves to show off in the nicest possible sense‚ seduced and dazzled with a display that showed not just vocal agility but a fine control of tone and soaring power.
A local parishioner‚ Constance‚ has a passion for the mentally-detached parson‚ Dr Daly. Their stage presence and interaction at their meeting is beautifully played and sung.
Rebecca Bottone is a beautifully sweet Yum-Yum
There’s quite a lot to like about the singing. Nicholas Sherratt had a gentle take on Nanki-Poo – a lyrical performance which did him credit. Rebecca Bottone’s Yum-Yum matched him well. There was an effortlessness about their duets which was very pleasing.
Rebecca Bottone brings resolute charm to the role of Yum-Yum
Rebecca Bottone makes an appealingly knowing Yum-Yum.
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.
Emma Carrington was a rich-toned Queen Nefertiti‚ complementing Rebecca Bottone’s bright-voiced Queen Tye
Mother Queen Tye was a soaring yet crisply-controlled Rebecca Bottone...
they are serenely sung by Emma Carrington and Rebecca Bottone
No praise too high for Emma Carrington’s luscious Nefertiti‚ Rebecca Bottone’s spooky Queen Tye
Rebecca Bottone as his mum‚ the brittle matriarch Queen Tye‚ commands the stage...
Patience herself‚ at the centre of the action‚ was played by Rebecca Bottone as a very Yorkshire milkmaid. Her agile soprano sparkled in her solo songs and she created a fine rapport with her two suitors
Patience appeared in a costume replicating Gilbert’s original style and carried off her part‚ with believable wide-eyed innocence‚ to perfection. Her ‘tripe and chips’ northern image of a simple-minded lass was brilliant...Rebecca Bottone has a loving sincerity to her singing and the duet with Grosvenor was tenderly sung by them both
This clearly was a fine first-performance – Andrew Davis is a long-time Wood champion and Epithalamion is dedicated to him – the full orchestra and its bright and dark-glow sounds well-prepared‚ the BBC Symphony Chorus suggesting much enjoyment in tackling Wood’s grateful writing‚ and Rebecca Bottone (singing from the Chorus) sweet-toning the celebration
Rebecca Bottone’s serious‚ self-assured Ilia was impressive. Vocal sweetness aside‚ she best grasped the fact that less is more when acting in-the-round: and as official Trojan spokesperson she lent an arresting colour to Amanda Holden’s safe but neutral English text
Nicholas Jenkins marshalled his musical forces effectively and chose a fine quartet of leads...Rebecca Bottone and Sam Furness made a lyrical romantic pair
...the children were led by the irrepressible energy of Miss Bottone as the youngest child‚ Michael‚ who was a convincing‚ impish‚ bell-like schoolboy
The three children were equally impressive‚ with a lovely sense of child-like attitude and body language...Nicholas Sharratt and Rebecca Bottone made a great double act as the two boys!
Much praise also for Rebecca Bottone’s Ynoild. Hers was a distressingly realistic depiction of innocence being crushed by the actions of others
Finely done‚ too‚ are Marie Arnet’s caring Wendy‚ with Nicholas Sharratt and Rebecca Bottone as her brothers John and Michael respectively
Rebecca Bottone‚ as Michael‚ youngest of the three Darling children‚ captures the physical movements and gestures of a young boy quite beautifully (and is disturbingly sexy in the process!)
Nicholas Sharratt and Rebecca Bottone sang‚ acted and flew John and Michael
Leah-Marian Jones‚ as Geneviève‚ was secure and intelligent in all that she did‚ as was Rebecca Bottone in the role of Yniold. Bottone is a young singer of real charm and stage presence
...if Golaud’s son Yniold has to be played by a woman then Rebecca Bottone’s your man
Rebecca Bottone introduced a volatile treble quality into her singing as Yniold‚ inducing great anxiety as she spies on the lovers for his father
Rebecca Bottone (a winsome Yniold) completed a very fine cast
Rebecca Bottone and Máire Flavin made a spry pair of wild-haired jealous sisters‚ their voices blending together in their anxiety to win over their hearts’ desire and improve their station
Rebecca Bottone and Máire Flavin sing nimbly and have fun as the stepsisters‚ all swivelling hips and mouths agog
Sandrine Anglade’s interpretation plays up to the pantomime traditions of the story‚ and she is well served by the performances of Rebecca Bottone and Maire Flavin as the far-from-ugly sisters
The starry line-up of soloists had been cleverly chosen. Sopranos Lucy Crowe and Rebecca Bottone complemented each other perfectly‚ with Crowe’s luscious fullness of tone set off by Bottone’s coloratura (crystalline despite her heavy pregnancy)
Unstaged though it was‚ every singer entered fully into the spirit of the narrative...Rebecca Bottone sang with crystalline tone even when the music was at its most fearsome
Heavily pregnant – I feared she might give birth at any moment – Rebecca Bottone put all her strength into the role of Rodope‚ the heroine’s perpetually anguished confidante
As Rosmene‚ Rebecca Bottone’s voice was sweet‚ elegant and precise
Rebecca Bottone revealed Rosmene as a woman not so much of erotic allure as one of determination and forcefulness with her defiant and demonstrative gestures‚ dramatically and musically
As the centre of attention‚ Rebecca Bottone’s Rosmene was sung with a bright soprano‚ as hard and brilliant as a diamond
...deceptively smart characters here given layered performances by Rebecca Bottone and Anna Devin
Yet here‚ with gifted actor-singers such as Matthew Best (Swallow)‚ Roderick Williams (Ned Keene)‚ Jonathan Summers (Balstrode) and Alan Oke (Bob Boles)‚ identification presented no problem. We knew each one of them. Jane Henschel’s Mrs Sedley‚ Catherine Wyn-Rogers’s Auntie and her "nieces"‚ the lively duo of Rebecca Bottone and Jette Parker young artist Anna Devin‚ conveyed both their individuality and their numbing‚ circumscribed ordinariness
Her ‘nieces’‚ Rebecca Bottone and Anna Devin both made strong impressions too‚ their proper air of grotesquerie never allowed to proceed too far
Oberon and Tytania – James Laing and the remarkable Rebecca Bottone
Rebecca Bottone sparkled through Tytania’s coloratura
Steuart Bedford‚ Britten’s preferred interpreter in his day and someone who knows this score better than anyone‚ leads an outstanding ensemble cast whose impeccable diction allows us to ignore the surtitles and feast our eyes as well as our ears on the performances. ?Rebecca Bottone is a divine Tytania‚ mischievous and spritzer-voiced
Rebecca Bottone was every above-the-stage inch the Helden-soubrette Adès calls for in her various roles‚ an astonishing‚ high-energy performance
Rebecca Bottone‚ qui récolte une large part des applaudissements au moment des saluts‚ semble se régaler de ces acrobaties‚ les prouesses virtuoses dissimulant mal l’acidité d’un chant qui donne parfois l’impression de miaulements /// Rebecca Bottone ‚ who collects a large share of applause when greetings‚ seems to enjoy these acrobatics‚ virtuoso prowess poorly concealing the acidity of a song that sometimes gives the impression of meowing
Timothy Redmond’s conducting is super-slick‚ and there are superbly lubricious performances from Iain Paton‚ Alan Ewing and Rebecca Bottone as the exploitative men and women in the Duchess’s life
Rebecca Bottone was rivetingly comic in a medley of soubrette roles
...the cast remains the same‚ each - Alan Ewing‚ Rebecca Bottone and Iain Paton - quite outstanding in their multiple roles
...the pert coloratura maid Marie (Rebecca Bottone‚ sweetly stratospheric)
Rebecca Bottone as a sympathetic maid is the best of the supporting cast
...the secondary female roles of Anne Egerman (Fredrik’s child-bride) and Countess Charlotte Malcolm are expertly filled by‚ respectively‚ Rebecca Bottone and Deanne Meek
Elizabeth Watts and Rebecca Bottone as Arbaces’ beloved Mandane and his sister Semira respectively‚ brought some vocal weight to the cast. The contrasting tonal colour of their voices helped characterise their splendid sparring music...Bottone proved herself consistently agile
As Semira‚ Arbaces’ sister‚ Rebecca Bottone shone
Frances Bourne (Amando) y Rebecca Bottone (Amanda) complementan con movimientos coreográficos sus voces precisas y seguras en el ataque de la altísima tesitura de sus roles /// Frances Bourne (Amando) and Rebecca Bottone (Amanda) choreographic movements complement their accurate and safe in the attack on the high tessitura of their roles voices
Bourne and Bottone make the absurdities‚ exaggerations‚ uglinesses and angularities of Ligeti’s vocal writing sparkle
The cast was perfection. Toby Stafford-Allen (Grosvenor) and Simon Butteriss (Bunthorne) were the velvet-clad rivals hankering after Rebecca Bottone’s naive‚ proletarian Patience
...sweet-voiced Rebecca Bottone (Patience) who “cannot tell what this love may be” but spins her bewilderment in two of the most exquisite numbers Sullivan ever wrote. Only the musically insensitive or cloth-eared could balk at those
Bottone sweetly turns her aria "A mon pays de Picardie"
Rebecca Bottone is quite brilliant as the bird-like Marie‚ flitting to Madame’s assistance‚ trilling her sympathy in the upper registers
Soprano Rebecca Bottone was a young-sounding‚ fresh and confident confidante to Ermione
Rebecca Bottone as Cleone (Ermione’s confidante) was the only high lyric soprano and sang with clarity and beauty