I am a soprano, specialising in the gnarly edges of contemporary classical music. Most of what I sing is brand-new — much of it written especially for me — but I began my career singing early music and this remains a crucial part of my repertoire. I am happiest singing music written before 1759 and after 1958. What I love is making chamber music; I am not interested in making opera. I avoid flying wherever possible, for environmental reasons, and so I spend a lot of time doing very long train journeys across Europe. Beyond my singing career, I am artistic director of eavesdropping, a platform for experimental music in East London that I founded in 2017. As a writer and speaker, I offer a performer's perspective to advocate for change within the industry: essays have been published by Britten Pears Arts, Sounds Now, WOLKE, IMD, here on this website and on my Substack. I was recently awarded an honorary doctorate by the University of Southampton. 

This season includes premieres of major new works by Georges Aperghis, Aaron Einbond and Catherine Lamb, as well as more performances of new-ish works written for me by Carola Bauckholt, Pascale Criton, Larry Goves, Kristine Tjøgersen and Øyvind Torvund. My new project exploring the lament continues its slow tour, with performances in Schwaz and Berlin. 2026 marks the centenary of Morton Feldman's birth, and accordingly I am performing Three Voices in Den Haag, London and St Gallen. Festival appearances include Klangspuren Schwaz, Mixtur, Donaueschinger Musiktage, Rainy Days and MaerzMusik. I am particularly excited to be curating a project for United Instruments of Lucilin, to be unveiled in June at the Philharmonie de Luxembourg.