Lauren Fagan
Soprano

“Lauren Fagan is a fervent, bright-voiced Lila, with oodles of star potential” (The Financial Times)

Contacts

Shirley Thomson +44 (0)20 3725 9173
Clare Erskine +44 (0)20 3725 9145

Biography

A recent graduate of Covent Garden’s Jette Parker Young Artist Programme, Sydney-born soprano Lauren Fagan enjoyed great success last season as Donna Anna (Don Giovanni) at London’s Opera Holland Park, and plans a return to the company next season for her first performances as Verdi’s Violetta (La Traviata). Praised for “a rich, creamy and dramatic voice that brought immediacy and thrill to her every utterance”, Fagan has also been heard as Musetta (La bohème) with Welsh National Opera, Oscar (Un ballo in maschera) and Giannetta (L’elisir d’amore) at the Royal Opera House, Covent Garden and Donna Anna at the Verbier Festival. Lauren joined Sakari Oramo for Vaughan Williams’ Serenade to Music as part of the First Night of the 2016 BBC Proms, and has recently joined both the BBC Singers for Mozart’s Requiem and the Philharmonia Orchestra for Villa-Lobos’ Bachianas Brasileiras

A recent graduate of Covent Garden’s Jette Parker Young Artist Programme, Sydney-born soprano Lauren Fagan enjoyed great success last season as Donna Anna (Don Giovanni) at London’s Opera Holland Park, and plans a return to the company next season for her first performances as Verdi’s Violetta (La Traviata). Praised for “a rich, creamy and dramatic voice that brought immediacy and thrill to her every utterance”, Fagan has also been heard as Musetta (La bohème) with Welsh National Opera, Oscar (Un ballo in maschera) and Giannetta (L’elisir d’amore) at the Royal Opera House, Covent Garden and Donna Anna at the Verbier Festival. Lauren joined Sakari Oramo for Vaughan Williams’ Serenade to Music as part of the First Night of the 2016 BBC Proms, and has recently joined both the BBC Singers for Mozart’s Requiem and the Philharmonia Orchestra for Villa-Lobos’ Bachianas Brasileiras

As part of her 2017/18 season, Lauren Fagan joins Sir Antonio Pappano in Rome for concert performances of Krol Roger with the Accademia Nazionale di Santa Cecilia, Paavo Järvi in Tokyo for Don Giovanni with the NHK Symphony Orchestra, Oliver Zeffman in London and St. Petersburg for George Benjamin’s Written on Skin with the Melos Sinfonia, and Leonard Slatkin in Lyon for Grieg’s Peer Gynt with the Orchestre national de Lyon. 

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Contacts

Shirley Thomson +44 (0)20 3725 9173
Clare Erskine +44 (0)20 3725 9145

Reviews

“Lauren Fagan sang her first Donna Anna as if it were a walk in Holland Park, flinging out her repeated As in ‘Or sai chi l’onore’” (Hugh Canning, Opera Magazine, August 2017)

“From her first appearance as Donna Anna, Lauren Fagan demonstrated a rich, creamy and dramatic voice that bought immediacy and thrill to her every utterance. She uses words and a palette of vocal colours to thrilling effect; this is a voice of amazing potential.”  (Classical Source, June 2017)

“Australian soprano Lauren Fagan sang a commanding Donna Anna with dramatic recitatives, laser-like projection and clean fioritura. “Non mi dir” was the highlight of the evening.” (Bachtrack, June 2017)

“Lauren Fagan sang her first Donna Anna as if it were a walk in Holland Park, flinging out her repeated As in ‘Or sai chi l’onore’” (Hugh Canning, Opera Magazine, August 2017)

“From her first appearance as Donna Anna, Lauren Fagan demonstrated a rich, creamy and dramatic voice that bought immediacy and thrill to her every utterance. She uses words and a palette of vocal colours to thrilling effect; this is a voice of amazing potential.”  (Classical Source, June 2017)

“Australian soprano Lauren Fagan sang a commanding Donna Anna with dramatic recitatives, laser-like projection and clean fioritura. “Non mi dir” was the highlight of the evening”. (Bachtrack, June 2017)

“The irrepressible Musetta of Lauren Fagan…her transition from attention-seeking shrillness to touching lyricism was skilfully done.” (Opera Magazine, May 2017)

“Of the other ‘bohemians’, Lauren Fagan’s Musetta had an engaging brassiness of voice and manner in the Café Momus scene (which was well realized theatrically) and a very different, but equally engaging, capacity for deeper emotional involvement in Acts III and (especially) IV. More than some more famous singers in this role, she made one believe in the character’s generosity of spirit in the last Act.” (Seen and Heard, January 2017)

“Lauren Fagan was a brilliantly wild and flighty Musetta, until the final scene where the Carmen-like mask dropped and the softness of the woman beneath was movingly revealed. Her powerful voice, with remarkable control, even at the peak of her range, mellowed beautifully by the end.” (Bachtrack, January 2017)

“Lauren Fagan was a feisty Musetta, generous of voice.” (Classical Source, January 2017)

“In the second half Vaughan Williams’s Serenade to Music provided the unique sound of 16 solo singers – as distinct from a 16-part choir – of whom Lauren Faganstood out in a high quality crowd.” (The Arts Desk, September 2016)

“Lauren Fagan shone as Gounod’s Mireille… Her stunningly rich tone and vibrant timbre rose above the incongruous design and later, as Mimì, she showed that she has range of colour too.” (Opera Today, July 2016)

“Lauren Fagan excelled as Gounod's Mireille, her creamy tone, fast vibrato and clear top perfectly suited to French repertoire” (Bachtrack, July 2016)

“Lauren Fagan, who stepped in at the last moment for an indisposed Sophie Bevan, leaves a strong impression with a sincere, powerful sound.” (Opernwelt, July 2016)

“contrasted with the bright ring of Lauren Fagan's Sister Genovieffa, surely an Angelica in waiting” (Arts Desk, February 2016)

“…the characterisation of the supporting roles is carefully detailed, such as Lauren Fagan’s tender delivery of Sister Genovieffa’s wistful monologue on the joy of holding a lamb …” (Anna Picard, The Spectator, March 2016)

“Lauren Fagan is a fervent, bright-voiced Lila, with oodles of star potential” (Financial Times, December 2015)

“Musically the whole thing works a treat, thanks to glorious singing by Fagan.” (The Independent, December 2015)

“His daughter Lila, our heroine, gets a spirited and joyful incarnation from Lauren Fagan… her soprano warm and crystal clear.” (Bachtrack, December 2015)

“The Three Graces blended alluringly, Lauren Fagan’s Thalia floating thrillingly above Emily Edmonds sensuous mezzo” (Opera Today, November 2015)

“Lauren Fagan, looking like a dancer, brought a palpitating timbre and oodles of temperament to the troubled priestess” (Yehuda Shapiro, Opera Magazine, August 2015)

“…Lauren Fagan as his love-interest, Leila, [was] simply superb. She slinked around with perfumed exoticism as the beautiful young princess and he could barely contain his passion for her… These two fine singers proved they were worthy of headlining any Pearl Fishers cast and deserved the prolonged ovation they received.” (Seen and Heard, July 2015)

“The positively angelic Léila of Lauren Fagan” (Opera Today, July 2015)

“This was exceptional, both singers giving their all and electrifying each other and, in the process, the auditorium” (Classical Source, July 2015)

“Fagan had a lovely silvery sheen to her soprano as Léïla pleaded for Nadir’s life, fuelling the flames of Zurga’s jealousy. Sparks flew!” (Bachtrack, July 2015)

“Stepping into Papagena’s tarty shoes was the Jette Parker Young Artist Lauren Fagan, who sang with spark and threw herself into the portrayal.” (Opera Magazine, May 2015)

“How pleasant to meet the Australian soprano Lauren Fagan as the heroine Giulia…The technical precision of Fagan’s coloratura is matched by the purity of her tone,” (The Independent, October 2014)

“In the central role of Giulia, Lauren Fagan (so impressive in L’enfant prodigue at the Guildhall last year) [sang with] elegant, velvet tones” (Opera Magazine, October 2014)

“The formidable Giulia, a girl who certainly knows her mind, was well-served by Lauren Fagan’s commanding soprano,” (What’s On Stage, October 2014)

“Lauren Fagan is a sumptuously voiced Giulia, with excellent enunciation and a smooth, rounded sound that also proves capable of hitting the ethereal heights required by her arias.” (Music OMH, October 2014)

“Australian soprano Lauren Fagan was a charming, light-voiced Giulia, central to the plot…She has a lovely purity of line and I suspect she would make a very fine Pamina.” (Bachtrack, October 2014)

“As Giulia, Lauren Fagan gave a charming characterisation, decently shrewish when berating Germano but equally exuding charm when taking advantage of him to do her bidding.” (Opera Britannia, October 2014)

“Lauren Fagan is exceptional as the suffering mother, whose thoughts are all with her missing younger son.” (What’s On Stage, November 2013)

“In L’enfant prodigue, Australian, Lauren Fagan, took on the role of Lia with remarkable assurance, firm solid singing with a voice of real quality, and a commitment to the role that was impressive in one so young.” (Brian Dickie, November 2013)

“Lauren Fagan is in lush voice in the role of mother, Lia. She is very controlled, possessing a wide dynamic range, excellent intonation, and is able to admirably mould the voice to the dramatic situation.” (Capriccio, November 2013)