Allison Bell

"How to deal, too, with the plot’s tricky core, the obsessive love of an 18th-century bishop’s librarian for a 12-year-old girl, the Marquis’s daughter, bitten by a dog, who acts as if she’s possessed? Eötvös, a magpie and maverick figure, avoids the tut-tuts by giving the girl a vocal line so testing that only an adult could attempt the role. No matter how stratospheric the pitch or angular the leap, Allison Bell displays dizzying power as Sierva MarÍa, the little copper-haired heroine" GEOFF BROWN - THE TIMES
Allison Bell as Sierva Maria in LOVE AND OTHER DEMONS, World premiere, Glyndebourne 2008 (photo copyright Mike Hoban)
Sierva Maria/LOVE AND OTHER DEMONS/GLYNDEBOURNE "Allison Bell sings Sierva's high-lying coloratura with great aplomb" RUPERT CHRISTIANSEN - THE DAILY TELEGRAPH
Sierva Maria/LOVE AND OTHER DEMONS/GLYNDEBOURNE "Sierva is a coloratura role of fearsome difficulty, but strident expressionismis privileged over vocal display. The Australian Allison Bell's way with the part was, however, a great strength of the evening" PAUL DRIVER - THE SUNDAY TIMES
Sierva Maria (Allison Bell) and Dominga de Adviento (Marietta Simpson) in the World Premiere of Love and Other Demons at the Glyndebourne Festival 2008 (c. Mike Hoban)
Sierva Maria/LOVE AND OTHER DEMONS/GLYNDEBOURNE "You remember the haunting juxtaposition of religious chant and Sierva Maria's birdlike pyrotechnics, wonderfully handled by a fearless Allison Bell." EDWARD SECKERSON - THE INDEPENDENT
Sierva Maria/LOVE AND OTHER DEMONS/GLYNDEBOURNE "Following her performance as Pretty Polly in Music Theatre Wales' recent revival of Birtwistle's Punch and Judy, Allison Bell hits the coloratura heights again as the 12 year old Sierva Maria. With a flow of flaming hair barely covering her nakedness, Bell's is a lovely performance of great fragility, as well as vocal dexterity." SIMON THOMAS - MUSIC OHM
Sierva Maria (Allison Bell) and Father Caytano Delaura (Nathan Gunn) in the 2008 Festival production of Love and Other Demons. (c. Mike Hoban)
Sierva Maria/LOVE AND OTHER DEMONS/GLYNDEBOURNE "Tasmanian soprano Allison Bell, making her Glyndebourne debut, was remarkable as Sierva Maria, possessing a voice of beauty over a great range." KIETH CLARKE - MUSICAL AMERICA
Don Toribio (Mats Almgren) and Sierva Maria (Allison Bell) in the Final Act of Love and Other Demons. (c. Mike Hoban)
Sierva Maria/LOVE AND OTHER DEMONS/GLYNDEBOURNE "Und da ist dieser Gesang; er steht im Zentrum von Eötvös' Werk, ihm, seiner Vielfalt, seiner betörenden Schönheit dient das Libretto. Erstklassig, was in Glyndebourne zu hören war. Die Koloratursopranistin Allison Bell ist eine echte Entdeckung: Ihre Sierva hatte Wildheit und Zerbrechlichkeit, Gequältheit und Magie. Grandios, wie sie die horrend schwierige Partie meisterte." ALFRED ZIMMERLIN - Neue Zürcher Zeitung
Sierva Maria/LOVE AND OTHER DEMONS/GLYNDEBOURNE "Im Grunde ist die Oper ein anhaltendes magisches Klangritual, in dem sich schemenhafte Erinnerungen an die Welt des achtzehnten Jahrhunderts, stampfende Tanzrhythmen der Sklaven, unwirkliche Chöre und phantastische Soprankoloraturen des gequälten Mädchens (wie nicht mehr auf dieser Welt: Allison Bell)." WOLFGANG SANDNER - FRANKFURTER ALLGEMEINE ZEITUNG
Allison Bell in LA CALLAS, Slovenian National Opera
"An exceptional coloratura voice... profound musicality and sensitivity to music are qualities of this wonderful artist" Virginia Zeani

BIOGRAPHY
Tasmanian born Soprano Allison Bell graduated from the University of Sydney and also trained at the Australian Theatre for Young People. Continuing her studies in London she joined The Knack Young Artist Programme at English National Opera where she was awarded the Lilian Baylis Prize, a Lynn Foundation Scholarship and won the William Cox Prize for Young Singers. Abroad Allison was a finalist in the Sylvia Geszty Coloratura Singing Competition in Luxembourg and the Hans Gabor Belvedere Opera Competition in Vienna. At the Fransisco Vinas Singing Cometition at the Liceu, Barcelona, she won the Young Singer's Prize awarded by Teatro alla Scala, Milan and a scholarship to study with acclaimed soprano, Virginia Zeani.
Allison has worked with teachers and coaches including Janice Chapman, Robert Kettelson, Sylvie Leroy and Alessandro Zuppardi. She has participated in masterclasses with Magda Olivero, Ghena Dimitrova, Gundula Janowitz, Dalton Baldwin, Lillian Watson, Valerie Masterson, Paul Hamburger, Sylvia Geszty and Sir Donald McIntyre.
Opera roles include Morgana (ALCINA, Handel), Serpetta (LA FINTA GIARDINIERA, Mozart), Königin der Nacht (DIE ZAUBERFLÖTE), Blondchen (DIE ENTFÜHRUNG AUS DEM SERAIL), Glauce (MEDEA, Cherubini, a role with which she made her French debut at the Opera de Montpellier), Adele (DIE FLEDERMAUS, J Straus), Oscar (UN BALLO IN MASCHERA, Verdi), Nanetta (FALSTAFF, Verdi), Olympia (LES CONTES D'HOFFMANN, Offenbach), Juliette (ROMEO AND JULIETTE, Gounod), Sophie (DER ROSENKAVALIER, R Strauss), Zerbinetta (ARIADNE AUF NAXOS, R Strauss), Isotta (DIE SCHWEIGSAME FRAU, R Strauss), Bubikopf (DER KAISER VON ATLANTIS, Ullmann), Nachtigall (DIE VÖGEL, Braunfels) and Nora (RIDERS TO THE SEA, Vaughan Williams).
Allison created the roles of 'Vole' and 'Sun' for the world premiere of Richard Ayres Southbank Award nominated opera, designed by the QUAY BROTHERS, THE CRICKET RECOVERS, for the Almeida Opera and Aldeburgh Festival. Recently she was critically acclaimed for her portrayals of 'Madame Herz' (DER SCHAUSPIELDIREKTOR, Mozart) and 'Monica' (THE MEDIUM, Menotti) for Second Movement and was invited to sing 'Monica's Waltz' scene on Sean Rafferty's IN TUNE, BBC Radio 3.
Concert repertoire includes the Bach Passions, Mozart Masses and concert arias, Haydn 'Nelson Mass', Beethoven 'Christus am Olberge', Brahm's Requiem, Mahler 4th Symphony, Orff 'Carmina Burana', Vaughan Williams 'Dona nobis pacem', together with Strauss lieder, Debussy, Satie and Ravel chansons and songs by Britten, Barber and Previn. Allison has appeared as a soloist with, amongst others, the Orchestre Philharmonique du Luxembourg and the UK's National Symphony Orchestra.
She has extensive experience performing in the field of twentieth century vocal music, singing Voice One in Berio's A-RONNE for The Knack at English National Opera and John Cage's ARIA for the Inventing America festival at the Barbican, London. Allison was the soloist for the UK premiere of Kutavicius' Musical Drama THE LAST PAGAN RITES at the Glamorgan Festian, and the world premiere of Alastair Borthwick's tone poem THE JUMBLIES with the Hull Sinfonietta. Allison created the roles of 'Vole' and 'Sun' for the world premiere of Richard Ayres Southbank Award nominated opera, designed by the QUAY BROTHERS, THE CRICKET RECOVERS, for the Almeida Opera and Aldeburgh Festival. She has also collaborated extensively with Opera Genesis at the Royal Opera in the development of new opera and vocal works.
The last seasons have seen many important debuts: Allison's Austrian debut as the Vole and Sun in THE CRICKET RECOVERS at the Bregenzer Festspiele, her role debut as LAKMÉ for Opera Holland Park and her debut in the opera/ballet LA CALLAS at the Slovene National Opera Ballet in Maribor. She performed the role of Pretty Polly in Harrison Birtwistle's PUNCH AND JUDY for Music Theatre Wales/The Royal Opera, Covent Garden and most recently was universally acclaimed for her performance as Sierva Maria in her Glyndebourne debut in the world premiere of Peter Eötvös’ opera, LOVE AND OTHER DEMONS, conducted by Vladimir Jurowski, a role which she will perform again at the Opera du Rhin, Strasbourg in 2010. Future performances in 2009 also include Peter Eötvös' OCTET PLUS and NATASCHA in Caen and Budapest, the role of Aspasia in Mozart's MITRIDATE, RE DI PONTO for The Classical Opera Company in London and Buxton, Salvatore Sciarrino's LOHENGRIN in London, Alfred Schnittke's THREE MADRIGALS, THREE SCENES and DER GELBE KLANG with Vladimir Jurowski and the London Philharmonic Orchestra in London, together with continuing film and music collaborations with celebrated film maker/animators, The Quay Brothers
WHAT THE CRITICS SAY:
Pretty Polly/PUNCH AND JUDY (Birtwistle)/MUSIC THEATRE WALES/ROYAL OPERA "Pretty Polly is Allison Bell, whose squeals of delight and irritation are like Mozart's Queen of the Night on helium." EDWARD SECKERSON - THE INDEPENDENT
Pretty Polly/PUNCH AND JUDY (Birtwistle)/MUSIC THEATRE WALES/ROYAL OPERA "From the cock-crows of Gwion Thomas' superb Punch to the stratospheric coloratura swoops of Allison Bell's Loloita-like Polly, they aren't afraid to use their voices in the way that Birtwistle uses instruments:with no limits." RICHARD MORRISON - THE TIMES
Pretty Polly/PUNCH AND JUDY (Birtwistle)/MUSIC THEATRE WALES/ROYAL OPERA "It is difficult, perhaps impossible, to warm to the character of Pretty Polly, but Allison Bell brought a marvellous technique to the role, which needs just that to fulfil its sometimes stratospheric demands." MARK BERRY - SEEN AND HEARD
Lakmé/LAKMÉ/OPERA HOLLAND PARK, LONDON "Allison Bell was obviously ordained to sing the title role from birth.... She looked lovely too." FRANCIS MUZZU - OPERA NOW
Lakmé/LAKMÉ/OPERA HOLLAND PARK "Opera Holland Park's production of Delibes' delightful opera boasts a star performance from Allison Bell in the title role... (she) joins a growing line of young singers who have made their mark with this company.... Bell is perfectly cast as Lakme, slim and petite and sweet of voice, tackling the tricky coloratura of the almost equally famous "Bell Song" with impressive ease." SIMON THOMAS - musicOMH
Lakmé/LAKMÉ/OPERA HOLLAND PARK "Soprano Allison Bell gives a thrilling account of the famous Bell Song" WARWICK THOMPSON - METRO
Madame Herz/Der Schauspieldirektor; Monica/The Medium/SECOND MOVEMENT at The Covent Garden Film Studios "Allison Bell climbed up to altissimo heights with ease as one of Mozart's rival divas, and also conveyed a touching pathos as Monica in The Medium" WARWICK THOMSON - OPERA MAGAZINE
"Most arresting however, was Allison Bell's Monica; a startling portrait of a girl just old enough to use her sexuality as a weapon from a cool, clear, naturally bright soprano" ANNA PICARD - THE INDEPENDENT
"Allison Bell as Monica delivered a scintillating performance. She is an impressive actress too" MICHAEL TANNER - THE SPECTATOR
Vole and Sun/The Cricket Recovers/ALMEIDA OPERA/ALDEBURGH FESTIVAL "The singing - most especially from Bell - is excellent" ANNA PICARD - THE INDEPENDENT
"The roles were wonderfully alert and energetic, especially Allison Bell as Vole" IVAN HEWITT - THE DAILY TELEGRAPH
"Allison Bell delivers hair-raising coloratura as a speedy, ground-hugging schoolgirl tricyclist doing brake-turns" MICHAEL DERVAN - THE IRISH TIMES
Blondchen/Die Entfuhrung aus dem Serail/Orchestre Philharmonique du Luxembourg (dir Imre Pallo)/INTERNATIONAL SYLVIA GESZTY COLORATURA SINGING COMPETITION "As Blondchen, Allison Bell combined impressive vocal agility with highly accomplished skills as an actress.... With crystal clear high notes she won the hearts of the audience" LUXEMBURGER WORT

DESCRIPTIONS OF THE VIDEOS BELOW
The following scenes are taken from the dress rehearsal before the world premiere of Richard Ayres' opera, THE CRICKET RECOVERS, in Aldeburgh, filmed (informally!) by Timothy Quay. The opera was directed by Nicholas Broadhurst, conducted by Roland Kluttig and designed by the Quays. The libretto is based on stories by the Dutch writer, Toon Tellegen.
VIDEO 1
In the first scene (Elephant/Vole Scene) the Elephant/Deep Sea Diver (Jonathan Gunthorpe) is trying to find a very small tree to climb, this being his particular fetish/psychosis. He enlists my help as the manic Vole/Schoolgirl, who is extremely excited and proud to know the whereabouts of a very small tree indeed - the smallest tree in the forest, if not the entire world. Having led him to it the Vole collapses in exhaustion while the Elephant attempts to climb the very small tree. Although he gets close, he does not succeed and falls violently. He tells the Vole 'A little bigger would have been alright... but not all that much bigger.... Trees are complicated'. Not quite understanding the subtleties of his dilemma, the Vole shrugs and races off on her tricycle, leaving the Elephant to conclude, 'Complicated, but, unavoidable'.
VIDEO 2
In the second scene (Sun Scene), I'm the voice of the Sun, represented by the flickering light-bulb over the Cricket's house. The scene begins with the Sun being anxious that she can't shine. She sings in the voice of a scared and anxious child, 'My shining's no good. I'm sure it's no good. But how ought I to be shining? I must shine, I must shine, I must shine.... I know that for sure... but that's the only thing I know! It's strange to be the Sun - no one knows how strange it is'. Then she finds her voice and confidence through testing a little coloratura. As it rings out she becomes more confident, 'I think I've got it just right - this is how I must shine!', and she launches into a soaring vocalise wherein she lights stage and helps cure the Cricket of the 'gloomy feeling'.
VIDEO 3
This captures the first time I sang the Sun scene with a megaphone! Richard (Ayres) wanted a more 'ethereal, otherworldly' sound, particularly in the extreme high passages of the vocalise, which is doubled in the orchestra by the clarinet. Someone suggested a megaphone might do the trick and luckily the super-efficient Almeida stage management had one lying around! So I tried it.... Initially it was a little strange to sing through - you really can't hear your voice at all singing through one of those things so have to tune yourself largely through physical sensations rather than sound.... but it worked perfectly in achieving the sound quality Richard was looking for.
Vole/Elephant scene from The Cricket Recovers

Sun scene from The Cricket Recovers

First 'megaphone' Sun scene