Blessed with “a lustrous voice, full of expression” (The Financial Times), Angela Simkin, originally from Lincoln, began her training at the Royal Northern College of Music, furthering her studies at the Royal College of Music, where she was a member of the International Opera School and an Ian Evans Lombe Scholar, studying with Dinah Harris.
She is a Britten Pears Young Artist and also acknowledges support from the Josephine Baker Trust, the Norrah Popple Award, the Boris Christoff International Award for Young Singers, the Georg Solti Accademia, the Mario Lanza Society, the Verbier Festival and the Worshipful Company of Musicians.
At the Royal College of Music, Angela Simkin sang Nancy Albert Herring, Second Lady Die Zauberflöte, Conceptión L’heure espagnole and Madama la Rose La Gazzetta, as well as singing Teseo Arianna in Creta and Iside Giove in Argo for the London Handel Festival.
Concert engagements have included Lucilla Il vologeso and Messiah for Classical Opera Messiah with Bournemouth Bach Choir and Raymond Gubbay Ltd at London’s Royal Festival Hall, the Nelson Mass at both The Music Hall, Aberdeen, and The Snape Maltings, Mozart Requiem with the Orion Orchestra and Opera Galas with the Southbank Sinfonia and the Ten Tors Orchestra.
During the 2016 / 2017 and 2017 / 2018 seasons, Angela Simkin was a member of the Jette Parker Young Artists Programme at the Royal Opera House, Covent Garden, where she sang Mlle Dangeville Adriana Lecouvreur, the title role in Handel’s Oreste (at Wilton’s Music Hall), Second Lady Die Zauberflöte, Annina Der Rosenkavalier, Tebaldo Don Carlo and Flora Bervoix La traviata.
Her current engagements include a recording as Dorcas Haddon Hall with the BBC Concert Orchestra for Dutton Vocalion, Meg Page Falstaff for The Grange Festival, a return to the Royal Opera, London, to sing Flosshilde Das Rheingold / Götterdämmerung and Siegrune Die Walküre with the London Philharmonic Orchestra.
Angela Simkin website here.
Please note that this biography is not to be used for programmes. Current information is available on request.
Nancy: Albert Herring / Royal College of Music, London
“…Angela Simkin’s ravishingly sung Nancy…”
“Nicholas Morton (Sid) and Angela Simkin (Nancy) offered some lovely moments of lyrical expansion.”
Messiah / Classical Opera
"Mezzo-soprano Angela Simkin has a lovely dark, burnished alto voice with a nice firmness in the middle and lower ranges which will, I think, make her a strong interpreter of the role. She sang a finely musical account, constantly turning in beautifully shaped phrases, and in the showier Guadagni sections brought out a superb technical ability too."
"Angela Simkin's velvety mezzo has immense promise..."
Teseo: Arianna a Creta / London Handel Festival
“Angela Simkin tackled Teseo’s vocal flights fearlessly, with a pleasingly mellow mezzo timbre.
“…very strongly sung by Angela Simkin…”
“…very well sung here by Angela Simkin.”
“Most challenging of all is the role of the heroic Teseo, written for the star castrato Carestini and here sung by Angela Simkin; she shirks nothing, keeping her head while the notes gather thick and fast all around.”
Iside: Giove in Argo / London Handel Festival
“There are outstanding performances from Angela Simkin’s traumatised Iside…”
“Angela Simkin’s Iside was brilliantly strong and characterful throughout…”
“The standout performances are the three women: Angela Simkin deploying her rich mezzo as the increasingly deranged Iside…”
“At such times it's exciting to look out for future stars, and in Angela Simkin we have one. A mezzo of rich velours and substantial range and power, she already has an impressive CV and is destined for great things.”
What’s On Stage
Oreste / Royal Opera, London, at Wilton’s Music Hall
“Angela Simkin, compelled to mutter and twitch throughout in response to the furies in Oreste’s head, has lustre…”
The Arts Desk
“In the title role, mezzo-soprano Angela Simkin has a lustrous voice, full of expression …”
The Financial Times
“Simkin moulds phrases and virtuosity into a seamlessly expressive whole, which is often all the more affecting for its restraint.
“Angela Simkin sang the title role with a focused, powerful mezzo…”
“Angela Simkin’s plush mezzo, reminiscent of a young Alice Coote, shone in the slower, lamenting numbers.”
The Sunday Times
“providing attractive and accomplished virtuosic singing."
"Angela Simkin's Oreste, crazed newcomer to the island ruled by the thug Toante, keeps her dark, throbbing mezzo strong and reliable."
"Angela Simkin's show-saving turn as a distracted, self-harming Oreste. Simkin's mezzo is deliciously attuned to Handel's style..."
Lucilla: Il Vologeso / Classical Opera
“…we also had a second mezzo of sensual quality in Angela Simkin, joining the Royal Opera's Jette Parker Young Artists Programme at the start of next season and plangent as Lucio's rejected fiancee whose magnanimity produces an unlikely volte face at the end.
The Arts Desk
“Angela Simkin's darker mezzo cut a noble figure as Lucilla, singing with beautiful warmth.”
“Angela Simkin sang Lucilla with charming demureness which elicited compassion for her situation as the intended bride whom Vero spurns.”
As Berenice, Gemma Summerfield’s soprano was rich, rounded and sumptuous, as was Angela Simkin’s mezzo-soprano as Lucilla, though this was also possessed of a more forthright edge.”
“…the mellow richness of her mezzo declared the strength of her love for Lucio, and made the somewhat brittle volte-face – when Lucilla puts aside her dented pride and forgives the irresolute Emperor – more credible than it might have been.”
“Angela Simkin, who joins Royal Opera’s Young Artists next season, brought a generous mezzo warmth to Lucilla…”
Concepción: L’heure espagnole / RCMIOS
“There are clearly some splendid young voices at the RCM. I enjoyed the array of excellent young women - including Angela Simkin a glamorous and seductive Concepción, both vocally and otherwise."
Madame la Rose: La Gazzetta / RCIMOS
“Angela Simkin made a poised and soignée Madama la Rose who runs the Hotel and seemed to spend a lot of time soothing her crazy guests, But she too gets a solo moment and Simkin (experienced in Handel and G&S) showed that she could shine in Rossini too.”
Tebaldo: Don Carlo / Royal Opera, London
“Angela Simkin is a poised, bright Tebaldo…”
“One other last-minute substitution deserves mention: Angela Simkin’s jump-in as a gleamingly-sung, lively Tebaldo, a credit to the Jette Parker programme.”
“Angela Simkin was a fine Tebaldo…”
Seen and Heard International
“In purely vocal terms, there was much to enjoy. Andrea Mastroni, David Junghoon Kim and Angela Simkin made their mark in small roles.”
“With strong support from Pohl’s handsome, expressive Posa, Semenchuk’s ferocious Eboli and Angela Simkin’s perky Tebaldo, there is much to admire.”
Flora Bervoix: La traviata / Royal Opera, London
“Jette Parker Young Artist Angela Simkin continues to impress as Flora.”
The Arts Desk
“...Angela Simkin, a newcomer to the Jette Parker scheme, made a fine fist of Flora.“
Seen and Heard International
“…there were arresting cameos from two of the Royal Opera’s apprentices, Angela Simkin (Flora) and Yuriy Yurchuk (Douphol).”
Gala Opera Concert / Ten Tors Orchestra
“Angela Simkin was a joy to hear and produced beautiful tone and had a control and richness of sound that shone out in her arias Dido’s Lament and ‘Che faro senza Euridice.”
Flosshilde: Das Rheingold / Royal Opera, London
“...the three Rhinemaidens, Lauren Fagan, Christina Bock and Angela Simkin got the singing off to an excellent start, the three voices buoyant and fresh, and blending beautifully.”
The Arts Desk
“Lauren Fagan, Christina Bock and Angela Simkin made for an exceptionally melodic and vicious trio of Rhinemaidens...”
“...the three Rhinemaidens, Lauren Fagan, Christina Bock and Angela Simkin blend beautifully and frolic with ease.”