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Lauren Fagan

Soprano

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“She uses words and a palette of vocal colours to thrilling effect; this is a voice of amazing potential”
(Classical Source, June 2017)

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 Last 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 Gyntwith the Orchestre national de Lyon.

Written on Skin - Melos Sinfonia

Gallery

Mozart- In quali…Mi tradi quell’alma ingrate (Don Giovanni)

Mozart- Ah, chi mi dice mai (Don Giovanni)

Mozart: Don Giovanni - Non mi dir © Verbier Festival Academy

Last Night of the Proms - Vaughan Williams: Serenade to Music © BBC

'Roxana's Song' Krol Roger with Pappano © Accademia Nazionale di Santa Cecilia

“the Australian soprano Lauren Fagan made a vivid, sensitive Roxana.”

(Opera Magazine, March 2018)

“Lauren Fagan encompassed repressed stillness and seething passion as Agnès, retaining her precision of attack and creamy tone at even the most exposed high climax”

(Opera Magazine, January 2018)

“As for Lauren Fagan, playing the humiliated wife for whom a taste of real love catalyses her one act of defiance, she achieves a small miracle: dispelling memories of how Barbara Hannigan sang and acted in the première. Fagan delivers a fiercer, less enigmatic characterization.”

(The Times, October 2017)

“Most thrilling of all, Lauren Fagan’s gleaming, intense performance showed what a extraordinary dramatic creation the character of Agnès is, one of the great operatic heroines of the past 100 years.”

(The Guardian, October 2017)

“Lauren Fagan (a Jette Parker Young Artist alumna) revealed Agnès’s erotic awakening with conviction and was even more persuasive in her vindictive rejection of her husband.”

(Classical Source, October 2017)

“Elvira demands more expressive power than the tragic Anna, but Fagan demonstrated perfect skill and there was a seriousness in her approach to the role.”

(Mainichi, September 2017)

“Do not miss the excellent performance offered by all artists – with particular acclaim for the great vocal charm of soprano Lauran Fagan (Roxana)”

(Giornale della musica, October 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)