“From the get-go I was put at my ease by the ferocious talent of Eleanor Ross as the story’s fulcrum. With a luxuriant tone she handled Violetta’s coloratura with ease….Her Violetta had an exquisite nature from the outset with no sense that she was capable of any exploitation. Gloriously guileless she was a lamb to the slaughter.”
(Planet Hugill – La Traviata 2018)
“Ross shined with effervescent energy and managed to sing as well as she can act. Her astonishing vocals took centre stage with confidence and assurance, while her Violetta succeeded in portraying fragility and an elegant nuance that touched the heart. Verdi’s vocal lines for Violetta are not easy to sing, yet Ross mustered the strength to do exactly that and more… The central enjoyment of this production is the intimate and skillful music-playing from the small orchestra, and Ross’s delicate and remarkable performance.”
(TrendFEM – La Traviata 2018)
“[Eleanor Ross] sings with élan and a natural dramatic charge. Her transition from mercurial party girl to loving, but doomed woman rings painfully true.”
(The Stage – La Traviata 2018)
“Eleanor Ross was outstanding… her radiant soprano voice soaring to the rafters of the church”
(Itchen Valley News – Don Giovanni 2016)
“Eleanor Ross a perky and vocally agile Belinda”
(The Guardian – Dido & Aeneas 2014)
“Eleanor Ross’s charmingly sung and characterful Belinda…”
(Opera Magazine – Dido & Aeneas 2014)
“Amongst this very energetic cast, Eleanor Ross was the most magnetic performer of the ensemble; her performance sparkled with real playfulness, her singing was beautiful, and although everyone else tried valiantly, she alone managed to make the music sound natural and logical.”
(One Stop Arts – The Miller’s Wife 2013)
“Soprano Eleanor Ross is Gianetta, perfect comedienne”
(The Argus – L’Elisir d’Amore 2013)
“With Eleanor Ross we had technique and a voice that thrilled and filled the theatre.”
(Surrey Advertiser – La Sonnambula 2012)
“Soprano Eleanor [Ross] in particular was entrancing, with perfect intonation even in the highest register, and unforced clarity, whether against the other soloists or the full choir.”
(Bridgwater Mercury – in concert 2011)
Soprano Eleanor Ross trained as an oboist at both the Royal College of Music and the Norwegian Academy of Music, and then as a singer with Dennis O’Neill at the Wales International Academy of Voice. Eleanor was an OperaWorks artist at English National Opera 2013-14, and now studies privately in London with Neil Baker.
Notable solo engagements include the Villa-Lobos ‘Bachianas Brasileiras No.5’ at Cadogan Hall, Vivaldi’s ‘Gloria’ at St John’s Smith Square, Brahms “Ein Deutsches Requiem’ at St Paul’s Knightsbridge, and ‘The Ultimate Opera Gala’ with Dame Kiri te Kanawa, Dennis O’Neill and the orchestra of Welsh National Opera.
Recent opera roles include Konstanze (Die Entfuhrung aus dem Serail, Mozart) on tour with Pop Up Opera, Lili (Carina, Ansdell-Evans) in workshop with English National Opera, Juliette (Romeo et Juliette, Gounod) with Riverside Opera, and Cover Dalinda (Ariodante, Handel) for the Festival d’Aix-en-Provence. Eleanor joined English Touring Opera for their Spring 2017 tour as an ensemble member in Gilbert & Sullivan’s ‘Patience’, Shepherd Boy in Puccini’s ‘Tosca’ and as Alona in their new education opera ‘Different’ by Llywelyn Ap Myrddin, which later toured to the Philharmonie Luxembourg.
2018 sees Eleanor sing her first Violetta Valery in Verdi’s La Traviata with Hampstead Garden Opera. Other engagements include Olympia/Giulietta in Les Contes d’Hoffmann in a return to Opera in Oborne, Susanna (Le Nozze di Figaro) with Intermezzo Opera, and the Hong Kong International Operatic Singing Competition.