Eleanor Dennis

© Christina Raphaelle


Scottish soprano Eleanor Dennis is a graduate of the Royal College of Music’s International Opera School and a former Harewood Artist at the English National Opera.

This season Eleanor makes her debut for the Grange Festival as Helena in a new production of A Midsummer Night’s Dream.

Her recent engagements have included Contessa Le nozze di Figaro for Scottish Opera and the English National Opera; Fiordiligi Così fan tutte for Opera Holland Park; Miss Jessel The Turn of the Screw for Opera North; Helena at the Aldeburgh Festival and for the English National Opera; Micaëla Carmen for the English National Opera; Cominio in Caldara’s Lucio Papirio Dittatore for the Buxton Festival and Ginevra Ariodante for the Salzburger Landestheater.

On the concert platform, her engagements include Brahms’ Ein Deutsches Requiem (CBSO/Andrew Manze); Britten’s A Spring Symphony (Vienna Radio Symphony Orchestra/Cornelius Meister & BBC Scottish Symphony Orchestra/Ilan Volkov); Mendelssohn’s Elijah (Three Choirs Festival); Haydn’s Harmoniemesse (Oxford Philharmonic Orchestra/Sir András Schiff); Elgar’s Une Voix dans le Désert (CBSO/Andris Nelsons); Strauss’ Vier Letzte Lieder (Royal Philharmonic Orchestra/Martyn Brabbins) and Beethoven’s Egmont (BBC Philharmonic/Juanjo Mena), Missa Solemnis (Three Choirs Festival & RTÉ National Symphony Orchestra of Ireland/Macelaru), Christus am Ölberge (Bamberger Symphoniker/Rolf Beck) and Symphony No. 9 (Orquesta y Coro Nacionales de España/David Afkham).



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    Malcolm Arnold: The Dancing Master

    Label: Resonus Classics

    Eleanor Dennis (soprano)
    Catherine Carby (mezzo-soprano)
    Fiona Kimm (contralto)
    Ed Lyon (tenor)
    Mark Wilde (tenor)
    Graeme Broadbent (bass-baritone)
    BBC Concert Orchestra
    John Andrews (conductor)

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    'Handel at Vauxhall' Vol. 2

    Label: Signum Classics

    Release Date: 08 Sep 17

    Soprano: Mary Bevan
    Soprano: Claire Bessent
    Soprano: Eleanor Dennis
    Tenor: Charles MacDougall
    Tenor: Nicky Spence
    Tenor: Greg Tassell
    Baritone: Benjamin Bevan

    London Early Opera/Bridget Cunningham

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    'Handel at Vauxhall' Vol.1

    Label: Signum Classics

    Release Date: 04 Mar 16

    Soprano: Eleanor Dennis
    Soprano: Sophie Bevan
    Soprano: Kirsty Hopkins
    Tenor: Charles MacDougall
    Tenor: Greg Tassell
    Baritone: Benjamin Bevan

    London Early Opera/Bridget Cunningham

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    03 Dec 20 ARNOLD The Dancing Master
    Resonus Classics

    “Arnold’s inventive, eclectic score is vividly brought to life as Miranda (Eleanor Dennis) and her scheming maid Prue (Catherine Carby) outsmart the pseudo-Spanish father (Graeme Broadbent)”
    Steph Power, BBC Music Magazine, December 2020

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    15 Feb 20 BRITTEN The Turn of the Screw
    Opera North

    “Eleanor Dennis brooded magnificently as Miss Jessel, her soaring tones emanating from a presence straight out of a Pre-Raphaelite painting.”
    Melanie Eskenazi, Music OMH, 15 February 2020

    “Eleanor Dennis, in lustrous, otherworldly voice”
    Richard Morrison, The Times, 17 February 2020

    “Watts co-conspirator Eleanor Dennis is a compelling Miss Jessel, forming a superb partnership in the “Ceremony of Innocence” duet.”
    David Truslove, OperaToday, 19 February 2020


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    07 Jul 19 CALDARE Lucio Papirio Dittatore
    Buxton Opera House

    “Elizabeth Karani and Eleanor Dennis as the lovers Rutilia and Cominio, all cope heroically with the coloratura challenges set by Caldara’s score.”
    Andrew Clements, The Guardian, 10 July 2019

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    01 Jun 18 MOZART Così fan tutte
    Opera Holland Park

    “What lifts the quality of the evening is an outstanding pair of “sisters from Ferrara”. As Fiordiligi, Eleanor Dennis has a truly gorgeous soprano – glowing, ample, easeful – and her lovingly intense account of “Per pietà” was the show’s vocal highlight.”
    Rupert Christiansen, Telegraph, 01 June 2018

    “Dennis’s Fiordiligi tall, blonde, soulful – she delivered big-toned accounts of her two arias…”
    Hugh Canning, Opera, August 2018

    “…but it is Eleanor Dennis who stands out. Fiordiligi can sometimes seem all glamorous surface with no emotional substance; Dennis catches the character’s self-dramatising histrionics, but her exquisite vocal shading also delivers real emotional depth.”
    Nick Kimberley, Evening Standard, 01 June 2018

    “Dennis communicated Fiordiligi’s constancy and thoughtfulness with the rich beauty of her voice. This culminated in her singing of Per pieta, the opera’s stand out aria to which she gave a stand out performance, rich in sound and nuanced in delivery.”
    Carol Metcalfe, Limelight, 07 June 2018

    “As the two sisters Eleanor Dennis and Kitty Whately ideally complemented and blended with each other. Dennis’ secure technique and lustous tone were in full command over the extended range and vocal leaps of “Come scoglio” and “Per pietà”.”
    John Johnston, Bachtrack, 01 June 2018

    “Eleanor Dennis’ Fiordiligi is outstanding, as her beautiful soprano proves as sweet as it is vibrant. It possesses the strength to fill the space, and the shape and precision to make her performance of ‘Per pietà, ben mio, perdona’ feel nothing short of perfect.”
    Sam Smith, MusicOMH, 03 June 2018

    “Eleanor Dennis, in glorious voice, ensured that “Come scoglio”, Fiordiligi’s aching aria of constancy, was the evening’s high point.”
    Mark Valencia, What’s on Stage, 04 June 2018

    “In terms of individual performances, Mozart and Da Ponte’s naive young lovers are finely explored over the course of the show by four singers who lay all their ambiguities bare by means of expert vocalism. Eleanor Dennis’ complex Fiordiligi, Kitty Whately’s extrovert Dorabella, Nicholas Lester’s cocksure Guglielmo and Nick Pritchard’s sensitive Ferrando all sing their parts to a degree of excellence rarely encountered.”
    George Hall, The Stage, 04 June 2018

    “The sisters – Eleanor Dennis’s Fiordiligi, Kitty Whately’s Dorabella – flounce and purr as Georgian belles who could have stepped from a Gainsborough frame…Dennis brings a fine dramatic presence to her shattering soliloquy “Per pietà”.”
    Boyd Tonkin, The Arts Desk, 02 June 2018

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    05 May 18 PARRY Ode on the Nativity
    Gloucester Cathedral

    “The soloist, Eleanor Dennis, soared rapturously over Parry’s broad, rolling paragraphs.”
    Richard Bratby, The Spectator, 19 May 2018

    “…Eleanor Dennis was the perfect choice for the work: her voice (with just the right amount of ‘period’ vibrato) was sweet in the solo passages and powerful enough to sound over the full forces in the gloriously abandoned tutti sections.”
    Barry Creasy, Music OMH, 10 May 2018


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    02 Mar 18 BRITTEN A Midsummer Night's Dream
    English National Opera

    “Eleanor Dennis, a bright-sounding soprano, didn’t let Helena’s dorky characterization her get in the way of her singing.”
    Erica Jeal, Opera, May 2018

    “Five members of ENO’s Harewood Artists Programme took part, including Soraya Mafi (excellent as Tytania), with fine performances also from Eleanor Dennis (Helena), Matthew Durkan (Demetrius), David Webb (Lysander) and Andri Björn Róbertsson (Theseus).”
    Barry Millington, Evening Standard, 2 March 2018

    “With several ENO Harewood artists in the cast…Matthew Durkan and Eleanor Dennis (memorable as Malcolm and Laura Fleet in ENO’s recent Marnie) shone as Demetrius and Helena.”
    Fiona Maddocks, The Guardian, 11 March 2018

    “Eleanor Dennis’s spitfire Helena ensures that the weather in the parallel relationships of the young lovers…”
    Michael Church, Independent, 2 March 2018

    “Clare Presland as Hermia, David Webb as Lysander, Matthew Durkan as Demetrius and Eleanor Dennis as Helena made a lovely, well-characterised group of lovers…”
    Robert Hugill, Planet Hugill, 3 March 2018

    “…Eleanor Dennis a terrific Helena…”
    Mark Valencia, Whats On Stage, 2 March 2018

    “Of the four lovers, Clare Presland and Eleanor Dennis (marvellous in Netia Jones’ production at the Aldeburgh Festival) repeated their success here, Presland’s warm, syrupy mezzo making much of Hermia’s indignation while Dennis soared in ensemble.”
    Mark Pullinger, Bach Track, 2 March 2018

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    28 Sep 17 VERDI Aida
    English National Opera

    “Eleanor Dennis (an ENO Harewood Artist) floated sensuously ethereal lines as the High Priestess.”
    John Allison, Opera, December 2017

    “A High Priestess to cherish…the highlight of my evening was the gorgeously sensual singing of fast-upcoming Eleanor Dennis as the High Priestess – let’s hope ENO can nurture her potential wisely.”
    Rupert Christiansen, The Telegraph, 29 September 2017

    “The stand-out moment in a variable evening comes during the the temple’s sacred rites, in the ethereal singing by ENO Harewood Artist Eleanor Dennis of the High Priestess’s invocation to the gods of the Nile.”
    Clare Colvin, Express, 09 October 2017

    “Above all, though, it was Eleanor Dennis who sang the house down with a startling turn as a high-pitched High Priestess. She is a major talent.”
    Mark Valencia, What’s On Stage, 29 September 2017

    “…Eleanor Dennis’ lustrous priestess like rays of the sun in the Temple of Vulcan.”
    Mark Pullinger, Bach Track, 29 September 2017

    “Eleanor Dennis, an ENO Harewood Arts, was notable as a Priestess with seductively beautiful tone.”
    Jessica Duchen, The Arts Desk, 29 September 2017

    “Other roles were well sung, notably…the High Priestess (Eleanor Dennis)”
    Michael Church, The Independent, 29 September 2018

    “…the High Priestess (an excellent Eleanor Dennis)…”
    Inge Kjemtrup, The Stage, 29 September 2017

    “Eleanor Dennis briefly had the evening to herself with her magnificently sung High Priestess.”
    Peter Reed, Classical Source, 28 September 2017 

    “Eleanor Dennis attracted attention as a more prominent than usual High Priestess.”
    Jim Pritchard, Seenandheard, 04 October 2017


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    13 Jun 17 Britten A Midsummer Night's Dream
    Aldeburgh Festival

    “…the excellent, youthful quartet of lovers [included] Eleanor Dennis (Helena)…
    Hugh Canning, Opera, August 2017

    “…the Athenian lovers and the rude mechanicals were cast from strength, with outstanding vocal contributions from Eleanor Dennis as Helena and Clare Presland as Hermia and bags of vitality from everyone else.”
    Rupert Christiansen, The Telegraph, 10 June 2017

    “But my, what a cast was there. Iestyn Davies and Sophie Bevan as Oberon and Tytania, Matthew Rose and Andrew Shore as Bottom and Quince, Clare Presland and Nick Pritchard as Hermia and Lysander, Eleanor Dennis and George Humphreys as Helena and Demetrius… we were spoilt royally.”
    Mark Valencia, What’s on Stage, 10 June 2017

    “Lovers Nick Pritchard, George Humphreys, Eleanor Dennis and Clare Presland remind us just how much young British vocal talent is currently available.”
    Alexandra Coghlan, The Arts Desk, 10 June 2017

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    17 Oct 16 Mozart Le nozze di Figaro
    Scottish Opera

    “Eleanor Dennis’ stately Almaviva [is] among the cream of the crop.”
    Ken Walton, The Scotsman, 15 October 2016

    “Eleanor Dennis made the Countess credible and touching; a wounded, nervous and vulnerable woman whose illicit flirtation with Hanna Hipp’s athletic Cherubino was entirely down to loneliness.”
    Richard Morrison, The Times, 14 October 2016

    “…Eleanor Dennis gives a fine sense of the loneliness of one loved, scorned and betrayed…”
    Thom Dibdin, The Stage, 17 October 2016

    “Eleanor Dennis was a revelation as [the] countess. Imperious yet vulnerable, she was quite magnificent in the emotive range of her performance.”
    Tom Kyle, Scottish Daily Mail, 14 October 2016

    “Dennis sings Porgi, amor delightfully, as if a dream, and a ghostlike child passes through the room, personifying the yearning in the aria.”
    Catriona Graham, The Opera Critic, November 2016

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    29 Jul 15 Beethoven Missa Solemnis
    Three Choirs Festival

    “Soprano Eleanor Dennis has a strong voice and she proved fully equipped for the Leonora-like demands of her role. Her voice is easily produced, with attractively rounded tone and no trace of shrillness at the top, and she coped with the demanding, high tessitura imperiously.”
    John Quinn, Seen and Heard International, 31 July 2015

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    21 May 15 Bizet Carmen
    English National Opera

    “Eleanor Dennis sings the role [of Micaëla] with considerable distinction.”
    Martin Kettle, The Guardian, 21 May 2015

    “Limpid soprano Eleanor Dennis easily transcends her dowdy costume as Micaëla.”
    Mark Valencia, What’s on Stage, 21 May 2015

    “Micaëla is projected by Eleanor Dennis: a tough cookie if not actually a tart.”
    Barry Millington, Evening Standard, 21 May 2015

    “…the excellent Eleanor Dennis’s beautifully sung, interestingly forward and knowing Micaëla.”
    Peter Reed, Classical Source, 20 May 2015

    “Eleanor Dennis’ handbag wielding, selfie-snapping Micaëla proved herself every inch as strong as Carmen in her attempt to win back José…She coped admirably with her difficult aria, displaying a soprano with plenty of colour.”
    Mark Pullinger, Bachtrack, 21 May 2015

    “ENO Harewood Artist, Eleanor Dennis as the more wholesome girl, Micaëla sings lusciously with sweet sorrow in ‘Je dis que rien ne m’épouvante’ in Act III.”
    Mary Nguyen, Culture Vulture, May 2015

    “Eleanor Dennis is superb as an unusually bold Micaela.”
    Claire Colvin, The Daily Express, 24 May 2015

    “Eleanor Dennis was convincing in her portrayal and made a touching Micaëla…her duet with Eric Cutler’s Don Jose was finely done, with moments of humour [and she] rose to fine heights in Micaëla’s Act 3 solo.”
    Robert Hugill, Opera Today, 22 May 2015

    “Eleanor Dennis’s revisionist Micäela did not lack for sweetness of tone, especially during her third-act aria.”
    Mark Berry, Scene and Heard, 01 June 2015

    “Eleanor Dennis projected an unorthodox Micaëla with great gusto…there was no denying her musicianship or range of tonal beauty.”
    Roger Parker, Opera, August 2015

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    18 Mar 13 Telemann Orpheus
    London Handel Festival

    “Orasia must have represented to 18th-century audiences roughly what the Queen of the Night signifies to subsequent generations of opera-goers. Eleanor Dennis gave a performance that was powerful, magnificent and terrifying; she gave all the signs that Orasia is only to be crossed at one’s peril. Not the least part of her achievement was her secure handling of the virtuoso lines and the stratospheric notes which Telemann calls for at the most dramatic moments.”
    Curtis Rogers, Classical Source, 18 March 2013

    “Eleanor Dennis’s firebreathing Orasia…”
    Tim Ashley, The Guardian, 20 March 2013

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    05 Nov 12 Vaughan Williams A Pilgrim's Progress
    English National Opera

    “Dennis in particular makes a memorable ENO debut. Showcased over the past few years in Royal College of Music productions, here the powerful young soprano comes of age, showing just how far she has outgrown the chamber space of the Britten Theatre. Surely we will be seeing much more of her in future.”
    Alexandra Coghlan, The Arts Desk, 06 November 2012

    “Eleanor Dennis’s full-throated Voice of a Bird stands out among the multiplicity of supporting roles.”
    Anna Picard, Independent on Sunday, 11 November 2012

    “The trio of ‘Shining Ones’ in the House Beautiful introduced a trio of promising ENO debuts: Aoife O’Sullivan, Eleanor Dennis and Kitty Whately all in fine voice…”
    Mark Pullinger, Opera Britannia, 06 November 2012

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    19 Mar 12 Handel Riccardo Primo
    London Handel Festival

    “Dennis, who reminds me of the young Anne Evans, is clearly a big talent, headed for ENO next season.”
    Hugh Canning, Opera, June 2012

    “Festival-goers will be delighted at the return of Eleanor Dennis as Costanza, whose tone only seems to grow in colour and depth.”
    Alexandra Coghlan, The Arts Desk, 28 March 2012

    “Eleanor Dennis, whom I heard in last year’s London Handel Festival ‘Rodelinda’, is vocally mature with secure top notes.”

    Nahoko Gotoh, One Stop Arts, 29 March 2012

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    08 Mar 12 Mozart Lucio Silla
    Classical Opera/Page at Cadogan Hall

    “Eleanor Dennis as Cinna well nigh sung everyone off stage in the vocal radiance, intelligence, poise and polish of her performance.”
    Hilary Finch, The Times, 13 March 2012

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    14 Mar 11 Handel Rodelinda
    London Handel Festival

    “Scottish soprano Eleanor Dennis singing the title role of the grief-stricken queen. Statuesque and restrained in manner, yet always expressive, she has a voice resplendent in colour, with great reserves of stamina, a rich tone, and the fexibility to deal with all the tricky coloratura Handel throws at her. If all goes to plan, she has a marvellous future. I’m not sure I can ever remember one who so obviously deserves to be a star.”
    Fiona Maddocks, Observer, March 2011

    “Dennis has matured into her stage presence, delivering a performance of serious vocal class that set the curve for her colleagues. Dispatching the likes of ‘Mio Caro Bene’ and ‘Se’l mio duol with emotive skill and silken tone, it was in the punchier coloratura of ‘L’empio rigor’ and the glorious ‘Morrai, si’ that she really showed her quality and new-found control.”
    Alexandra Goghlan, The Arts Desk, 15 March 2011

    “Eleanor Dennis was impressive as Rodelinda from the very start, tragic in her opening scene of two arias, imperious in ‘Morrai, si’, and nobly covering all the emotional bases on her way to a joyful reunion with her husband. Her voice is powerful, characterful, dazzling in all the coloratura, and with a very attractive gleam, and she has that undoubted advantage of being tall, so she has a naturally commanding presence.”
    Peter Reed, Opera Magazine, May 2011″…it was clear from the start that we had a first-class soprano in the title role…Eleanor Dennis has the look and manner of a grand tradegienne.”
    Michael Church, Independent, March 2011″Eleanor Dennis’s fluent Rodelinda rises to an exciting top register.”
    George Hall, Guardian, March 2011″Above all, Eleanor Dennis’s Rodelinda shows how a pure soprano with a sharp edge can make Handel’s music speak.”
    Richard Fairman, Financial Times, March 2011″As the grieving queen, wife and mother, Eleanor Dennis’s…powerful soprano made the eardrums shake…[a] talent to watch.”
    Geoff Brown, The Times, March 2011


Cantata: Lobet Gott in seinen Reichen (BWV 11)
Cantata: Ich hatte viel Bekümmernis (BWV 21)
Mass in B Minor
Mass in G Major

Christus am Ölberge
Mass in C
Missa Solemnis
Symphony no. 9

West Side Story (Maria)

Carmen (Micaëla)

A Midsummer Night’s Dream (Helena)
On This Island
A Spring Symphony
The Turn of the Screw (Governess)
War Requiem

Te Deum

Te Deum
Stabat Mater

The Canterbury Pilgrims

The Kingdom
Une Voix dans le Désert


St. Cecilia Mass

Acis & Galatea (Galatea)
Alessandro (Lisaura)
Alexander’s Feast
Ariodante (Ginevra)
Dixit Dominus
Il Pastor Fido (Amarilli)
Rodelinda (Rodelinda)
Xerxes (Romilda)

Nelson Mass
Scena di Berenice

The Cunning Little Vixen (Fox)

Symphony no. 2

Symphony No. 2 ‘Lobgesang’

Coronation Mass
Così fan tutte (Fiordiligi)
Exsultate Jubilate
Le nozze di Figaro (Contessa)
Lucio Silla (Lucio Cinna)
Mass in C Minor (soprano 1 & 2)

Orpheus in the Underworld (Diana)

Judith (title role)
Ode on the Nativity


La bohème (Musetta)
Turandot (Liù)

Dido & Aeneas (Belinda)
O Come Ye Sons of Art

Petite messe solennelle

Quartet no. 2

Mass in G

Die Fledermaus (Rosalinde)

Elektra (5th Maid)
Vier Letzte Lieder

The Mikado (Yum-Yum)
The Pirates of Penzance (Mabel)


Die Meistersinger von Nürnberg (Eva)