"Rebecca Afonwy-Jones dealt with Olga's tricky tessitura with great assurance, and skilfully managed to make dramatic sense of her ballroom conversion to über-coquette"
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Photo: Tim Dunk
Rebecca studied at the Guildhall School of Music & Drama and at the Royal Conservatoire of Scotland. Rebecca also participated on the emerging artist programme for Scottish Opera and was an associate artist with Welsh National Opera, a relationship that continues into the coming seasons. Rebecca has also appeared regularly with Opera North and maintains a busy concert diary in repertoire that stretches from Handel to Judith Weir.
Welsh mezzo-soprano Rebecca Afonwy-Jones studied at The Guildhall School of Music, London, and graduated from the Alexander Gibson Opera School at the Royal Conservatoire of Scotland in 2010 with distinction. Song prizes include The Independent Opera Scholarship, The WCOM Allcard Award & The MBF Sybil Tutton Award.
She was a Scottish Opera Emerging Artist and sang the title role in its touring production of Carmen, Fox The Cunning Little Vixen, Resi Intermezzo, and Countess Ceprano Rigoletto. Further roles also include Cherubino Le Nozze di Figaro, Maria Akhrossimova War & Peace, La Muse/Nicklausse Les Contes d’Hoffmann and Komponist Ariadne auf Naxos (Rostov on Don, Russia).
Concert engagements include Vaughan Williams Serenade to Music at BBC Proms, conducted by Donald Runnicles, Mahler Kindertotenlieder with RCS, Verdi Requiem at The Usher Hall, Edinburgh & Ronald Corp’s The Wayfarer at The Royal Festival Hall. Rebecca also appeared as a Samling Artist at The Sage. Further concert engagements include Haydn Nelson Mass for St Alban’s Choral Society, Mahler 2nd Symphony at Bridgewater Hall, Manchester Messiah at the Usher Hall, Verdi Requiem at St David’s Cathedral Festival and also with City of Glasgow Chorus, Mozart Mass in C Minor for Nottingham Festival Chorus, Ravel’s Shéhérazade for The Sinfonia of Leeds with Anthony Kraus and Handel Solomon for the Oxford Bach Choir with Nicholas Cleobury. Concerts further include Dream of Gerontius (Hertford & Nottingham), Elijah (Aberdeen), Gala Concert at Bath International Festival, Beethoven Mass in C (St Alban’s).
Following her company & role début as Countess Geschwitz Lulu, Rebecca became an Associate Artist at Welsh National Opera for the 2013/2014 season where highlights included Sara, Duchess of Nottingham (cover) Roberto Devereux and Anna Kennedy Maria Stuarda (UK and on tour to The Royal Opera Muscat, Oman). Further roles with WNO included Judith Weir Sleeping Mat–Ballad (special commission), Flora La Traviata, 4th Naked Virgin/Sick Woman Moses und Aron (with performances at the Royal Opera House, Covent Garden), Fenena (cover) Nabucco, Amenofi (cover) Mosé in Egitto, Beggar Woman Sweeney Todd and Lola Cavalleria Rusticana. Rebecca also sang Louhi Swanhunter for Opera North, Olga Eugene Onegin for Grange Park Opera and Kunstgewerblerin/cover Geschwitz Lulu for Teatro Communale, Bolzano.
Rebecca’s recent engagements include Bach Magnificat at St Asaph Cathedral, Dream of Gerontius at Chelmsford Cathedral, Beethoven Missa Solemnis in Colchester, Messiah at the Royal Festival Hall, her debut with Festival Opera New Zealand as Suzuki Madama Butterfly, Mozart Requiem with the Norwegian Wind Ensemble and St John Passionwith the Bournemouth Symphony Chorus. Upcoming engagements include Kerstin in Joseph Phibbs’s new chamber opera Juliana, at Cheltenham Music Festival, Flora La Traviata for Welsh National Opera, Requiem Reflections at the North Wales International Music Festival, Elgar Sea Pictures with Wrexham Symphony Orchestra, and Wellgunde Das Rheingold for Longborough Festival Opera.
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” …in the afternoon song-recital given by mezzo Rebecca Afonwy-Jones who, along with Rachel Roberts (viola) and Timothy End (piano) gave outstanding performances of works by Nielsen, Falla (Siete canciones populares españolas), Brahms (his Opus 91) and Edward Gregson’s superbly written Five Songs of Innocence and Experience – receiving the premiere of its revised version. Afonwy-Jones combined lustrous tone, generous phrasing and a natural ease of communication that demands attention and also further study of Gregson’s music.” Classical Source, David Truslove, (August 2017)
Dream of Gerontius: RTE National Symphony Orchestra