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LAUREN FAGAN SOPRANO

“However it is Fagan who gives the performance of the evening. Her vocal performance is exceptional and her Senza Mamma is one of the finest operatic performances one can remember on the stage of the Joan Sutherland Theatre -
her final top notes are heart-rending".

LF

Limelight

BIO

Australian soprano Lauren Fagan has rapidly established herself as one of her generation's most compelling singing actresses, acclaimed for her "glossy, commanding sound" and "magnificent dramatic power". A graduate of The Royal Opera House Jette Parker Young Artist Programme, she has returned to Covent Garden as a guest artist as Woglinde (Das Rheingold/Götterdämmerung), conducted by Sir Antonio Pappano, Gretel (Hansel and Gretel) under Mark Wigglesworth and Musetta (La bohème) under Keri-Lynn Wilson.

As part of her 2025/26 season Lauren is thrilled to work with Netia Jones on a new production of Rusalka for the Royal Swedish Opera, conducted by Alan Gilbert/Case Scaglione and to make an anticipated debut as Elsa in Wagner's Lohengrin at the Klaipeda Festival. Lauren also returns to Sydney as Tatyana, a role which is central to her future seasons, and collaborates once again with Simone Young and the Sydney Symphony Orchestra, this time with Beethoven, Symphony No. 9.

LEARN MORE

25/26
Calendar

UPCOMING SEASON ENGAGEMENTS

Highlights of Ms. Fagan's upcoming season include two role debuts... Elsa in Wagner's Lohengrin in Lithuania and the Title Role in Rusalka at The Royal Swedish Opera.

LOHENGRIN
Klaipeda Festival

RUSALKA
Royal Swedish Opera

EUGENE ONEGIN
Opera Australia

Media

LISTEN TO LAUREN FAGAN

WATCH + LISTEN

Hear some of Lauren's recent performances.

GALLERY

View publicity photos as well photos from recent productions.

E0BC2502-2615-404F-9E19-9F63620E52C0.jpe

© Victoria Cadisch

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Touch

CONTACT LAUREN FAGAN

Ms. Fagan is represented by Harrison Parrott.
For booking enquiries or to request press kit materials, please contact them directly.

Ms. Fagan maintains an active presence on social media. To follow behind-the-scenes connect with her on Facebook and Instagram.

Tonight we reach the last of 10 wonderful Rusalka performances here in Stockholm 🧜‍♀️👄💔

It was a pleasure bringing this extraordinary creature to life every single time 🎵 here is a small part of the Act 3 aria under the baton of wonderful Alan Gilbert from our opening night.

Tonight we reach the last of 10 wonderful Rusalka performances here in Stockholm 🧜‍♀️👄💔

It was a pleasure bringing this extraordinary creature to life every single time 🎵 here is a small part of the Act 3 aria under the baton of wonderful Alan Gilbert from our opening night.

This December I’m returning to the wonderful role of Tatyana @scottishopera as well as adding a second Tchaikovsky heroine - Iolanta - to the mix! Very happy to be back in wee 🏴󠁧󠁢󠁳󠁣󠁴󠁿 after our 2022 premiere of #AINADAMER 💃

🎥 conducted last season by the wonderful @speranzascappucci at @canadianopera in the iconic Robert Carsen 1997 MET production.
Film by @longmtaylor

#eugeneonegin #letterscene #canadianoperacompany #scottishopera #laurenfagan #tatyana #iolanta

This December I’m returning to the wonderful role of Tatyana @scottishopera as well as adding a second Tchaikovsky heroine - Iolanta - to the mix! Very happy to be back in wee 🏴󠁧󠁢󠁳󠁣󠁴󠁿 after our 2022 premiere of #AINADAMER 💃

🎥 conducted last season by the wonderful @speranzascappucci at @canadianopera in the iconic Robert Carsen 1997 MET production.
Film by @longmtaylor

#eugeneonegin #letterscene #canadianoperacompany #scottishopera #laurenfagan #tatyana #iolanta

As we prepare for curtain up on Rusalka No.2 here in Stockholm, I would love to share a little of arguably the most famous moment in the opera - SONG TO THE MOON -
Recorded live on Saturday at our premiere this aria has lived with me for many, many years and it was a dream come true to finally sing Rusalka in her entirety 🥲❤️

The full performance can be found here for 30 days: https://www.sverigesradio.se/avsnitt/rusalka-pa-kungliga-operan

Conductor: Alan Gilbert
Director: Netia Jones
Photo: Lightmap Studio @cordulatreml

As we prepare for curtain up on Rusalka No.2 here in Stockholm, I would love to share a little of arguably the most famous moment in the opera - SONG TO THE MOON -
Recorded live on Saturday at our premiere this aria has lived with me for many, many years and it was a dream come true to finally sing Rusalka in her entirety 🥲❤️

The full performance can be found here for 30 days: https://www.sverigesradio.se/avsnitt/rusalka-pa-kungliga-operan

Conductor: Alan Gilbert
Director: Netia Jones
Photo: Lightmap Studio @cordulatreml

Very excited to return home to Sydney🥲🥰 and to Opera Australia to sing the dreamer Tatyana once more!

This time in Kasper Holten’s revered production & joined by a wonderful cast full of friends… what more could a gal ask for!

Performances 17-28 March 2026

Very excited to return home to Sydney🥲🥰 and to Opera Australia to sing the dreamer Tatyana once more!

This time in Kasper Holten’s revered production & joined by a wonderful cast full of friends… what more could a gal ask for!

Performances 17-28 March 2026

sardinia is food for the soul 💙💙💙

sardinia is food for the soul 💙💙💙

G I U L I E T T A & H O F F M A N N

Les Contes d’Hoffmann - Jacques Offenbach

@saimirpirguofficial

G I U L I E T T A & H O F F M A N N

Les Contes d’Hoffmann - Jacques Offenbach

@saimirpirguofficial

GIULIETTA🪞
Les Contes d’Hoffmann

GIULIETTA🪞
Les Contes d’Hoffmann

Reflecting on a wonderful experience debuting Tatyana at the @canadianopera. This music was some of the most beautiful I have ever had the chance to sing and I am very happy to know that Tatyana will stay with me for the next few seasons 🪶

Thank you to @speranzascappucci for her care and guidance over the past two months and all my fellow colleagues here in Toronto ❤️

📸 @coopershoots
@harrisonparrottgroup

Reflecting on a wonderful experience debuting Tatyana at the @canadianopera. This music was some of the most beautiful I have ever had the chance to sing and I am very happy to know that Tatyana will stay with me for the next few seasons 🪶

Thank you to @speranzascappucci for her care and guidance over the past two months and all my fellow colleagues here in Toronto ❤️

📸 @coopershoots
@harrisonparrottgroup

Tatyana’s Letter Scene 🪶💌🌙

Our final ‘EUGENE ONEGIN’ tonight @canadianopera

📸 @coopershoots

Tatyana’s Letter Scene 🪶💌🌙

Our final ‘EUGENE ONEGIN’ tonight @canadianopera

📸 @coopershoots

EUGENE ONEGIN - Such a wonderful experience bringing this iconic and adored production to life once more 🍁📝💔 performance #3 tonight!

EUGENE ONEGIN - Such a wonderful experience bringing this iconic and adored production to life once more 🍁📝💔 performance #3 tonight!

Childhood mermaid 🧜‍♀️ fantasy coming true!

After singing ‘Song to the Moon’ for close to 20 years 😅 I will now have the chance to sing the wonderful role of Rusalka in its entirety.
In a production by Netia Jones at the @kungligaoperan in Stockholm. Catch us in 10 performances Sept through Nov this year ✨

@harrisonparrottgroup

Childhood mermaid 🧜‍♀️ fantasy coming true!

After singing ‘Song to the Moon’ for close to 20 years 😅 I will now have the chance to sing the wonderful role of Rusalka in its entirety.
In a production by Netia Jones at the @kungligaoperan in Stockholm. Catch us in 10 performances Sept through Nov this year ✨

@harrisonparrottgroup

TATYANA’S LETTER SCENE 📝 from Eugene Onegin

I was incredibly fortunate to air this role for the first time with conductor @garymatthewman and @brunswickvocalarts in London last month.

Tatyana looks like she will be with me for some time with 3 future productions already to look forward to …. First up in Toronto @canadianopera 🍁
@harrisonparrottgroup

TATYANA’S LETTER SCENE 📝 from Eugene Onegin

I was incredibly fortunate to air this role for the first time with conductor @garymatthewman and @brunswickvocalarts in London last month.

Tatyana looks like she will be with me for some time with 3 future productions already to look forward to …. First up in Toronto @canadianopera 🍁
@harrisonparrottgroup

Tonight we perform ARIADNE AUF NAXOS for the final time! Zurich has again been filled with incredible people, music, adventures and it’s been such a joy singing this highly emotional Mr Komponist. I will miss this production and team immensely 🫶🏼

“Soprano Lauren Fagan, in the role of the composer, brings the first recitatives across the stage with great force. The character seems lost, vulnerable, but also accessible. Fagan’s soprano voice reaches a height where one can feel as much passion as lyrical subtlety”

“But above all the first moment of truly Mozartian grace will be born from the aerial duet of Zerbinetta and the Komponist. Ziyi Dai and Lauren Fagan are perfect with their ideally luminous and fusional voices…. No less superb in its exaltation and then fury, the final monologue of Komponist alone on stage. “Music is the sacred art among all!” he sings... Fagan is impressive, playing with the high notes lavished by Strauss to express the fierce melancholy of the character.”

“Köhler and Fagan combine their Wagner/Strauss power with gentle, almost Lied-like nuanced singing. Fagan gives a multi-faceted, at times slightly nerdy and even hypochondriac composer.”

📸 @monikarittershaus and @heikesouffleuse (from the pit)

Tonight we perform ARIADNE AUF NAXOS for the final time! Zurich has again been filled with incredible people, music, adventures and it’s been such a joy singing this highly emotional Mr Komponist. I will miss this production and team immensely 🫶🏼

“Soprano Lauren Fagan, in the role of the composer, brings the first recitatives across the stage with great force. The character seems lost, vulnerable, but also accessible. Fagan’s soprano voice reaches a height where one can feel as much passion as lyrical subtlety”

“But above all the first moment of truly Mozartian grace will be born from the aerial duet of Zerbinetta and the Komponist. Ziyi Dai and Lauren Fagan are perfect with their ideally luminous and fusional voices…. No less superb in its exaltation and then fury, the final monologue of Komponist alone on stage. “Music is the sacred art among all!” he sings... Fagan is impressive, playing with the high notes lavished by Strauss to express the fierce melancholy of the character.”

“Köhler and Fagan combine their Wagner/Strauss power with gentle, almost Lied-like nuanced singing. Fagan gives a multi-faceted, at times slightly nerdy and even hypochondriac composer.”

📸 @monikarittershaus and @heikesouffleuse (from the pit)

Angelica’s final desperate moments after taking poison in the hope to be reunited with her son 😥🙏🏽

Angelica’s final desperate moments after taking poison in the hope to be reunited with her son 😥🙏🏽

swiss serenity🇨🇭

swiss serenity🇨🇭

🌈 walensee wandern

🌈 walensee wandern

AVOCA🐚💫💕

AVOCA🐚💫💕

Finally recovered from the most intense but fulfilling run of performances singing the title role in Puccini’s Suor Angelica - marking my debut at Opera Australia

The process of working on this heartbreaking role took me to an extreme emotional place each night and it was made even more special to perform it with so many friends and family present.

Conducted by Lidiya Yankovskaya, Directed by Imara Savage and surrounded by the most wonderful team of fellow Australian singers on stage, I will treasure this operatic experience for many years to come.

“However, it is Fagan who gives the performance of the evening. Her vocal performance is exceptional – her Senza Mamma is one of the finest operatic performances one can remember on the stage of the Joan Sutherland Theatre – her final top notes are heart-rending. Fagan delivers them with her back to the audience, arms outstretched to the heavens, emphasising just how hopelessly alone she is. When Fagan falls to her knees to scatter her son’s ashes in the earth, her anguish is truly palpable” (Limelight)

“Another OA debutante was Lauren Fagan as Angelica: her beautifully shaped lines made this an absolutely heartrending performance, the undoubted emotional highpoint of the afternoon” (Backtrack)

“Lauren Fagan is unforgettable as Suor Angelica and her rendition of the aria, Senza Mamma, on learning of the child’s death, is almost unbearable to watch” (Arts Review)

“At the end of this stunning Suor Angelica I leaned over to my companion and whispered ‘nigh on perfect’ – upon further reflection, I am convinced that this is a performance for the ages. All the roles were well taken from the smallest to the eponymous Angelica - splendidly sung by Lauren Fagan and wringing every ounce of emotion from the role” (Jwire)

Photos: Wendell Teodoro

Finally recovered from the most intense but fulfilling run of performances singing the title role in Puccini’s Suor Angelica - marking my debut at Opera Australia

The process of working on this heartbreaking role took me to an extreme emotional place each night and it was made even more special to perform it with so many friends and family present.

Conducted by Lidiya Yankovskaya, Directed by Imara Savage and surrounded by the most wonderful team of fellow Australian singers on stage, I will treasure this operatic experience for many years to come.

“However, it is Fagan who gives the performance of the evening. Her vocal performance is exceptional – her Senza Mamma is one of the finest operatic performances one can remember on the stage of the Joan Sutherland Theatre – her final top notes are heart-rending. Fagan delivers them with her back to the audience, arms outstretched to the heavens, emphasising just how hopelessly alone she is. When Fagan falls to her knees to scatter her son’s ashes in the earth, her anguish is truly palpable” (Limelight)

“Another OA debutante was Lauren Fagan as Angelica: her beautifully shaped lines made this an absolutely heartrending performance, the undoubted emotional highpoint of the afternoon” (Backtrack)

“Lauren Fagan is unforgettable as Suor Angelica and her rendition of the aria, Senza Mamma, on learning of the child’s death, is almost unbearable to watch” (Arts Review)

“At the end of this stunning Suor Angelica I leaned over to my companion and whispered ‘nigh on perfect’ – upon further reflection, I am convinced that this is a performance for the ages. All the roles were well taken from the smallest to the eponymous Angelica - splendidly sung by Lauren Fagan and wringing every ounce of emotion from the role” (Jwire)

Photos: Wendell Teodoro

Greece is the word 🇬🇷❤️

Greece is the word 🇬🇷❤️

we all made it through 🫶🏼☀️🍻

we all made it through 🫶🏼☀️🍻

Excited to start next season back at @operzuerich with a very coooool Strauss role debut and then to finish the season we will finally perform our Hoffmann production to an audience! 😅🎵💃🏽

Excited to start next season back at @operzuerich with a very coooool Strauss role debut and then to finish the season we will finally perform our Hoffmann production to an audience! 😅🎵💃🏽

My final performance as Musetta in Richard Jones’ wonderful production of La bohème 💋

“Lauren Fagan’s take-no-prisoners Musetta is irresistible, having great fun with the physical comedy (watch out for the flying knickers) but also giving this good-time girl a stature she often lacks.” (The Times)

“Baritone Mikhail Timoshenko and soprano Lauren Fagan – who blended seriously impressive singing with uninhibited sensuality to magnificent effect.” (iNews)

“Lauren Fagan was everything you could want from Musetta – bold, brassy, and with a heart, as well as voice, of gold. Less coquettish than her predecessor, her performance was full-blooded, and gorgeously sung.” (MusicOMH)

“Standout comedy comes from mischievous Musetta, simultaneously tormenting her sugar daddy and showing off to her ex-lover, painter Marcello, in a riotous restaurant scene that seems to get wilder with every revival since the production’s 2017 debut. Marching from table top to table top, ripping off her knickers, playing to the gallery, Musetta is sung by soprano Lauren Fagan, having a ball and singing with such wit and vocal wizardry” (Culture Whisper)

“As delightful as ever, the outrageously humorous high point is provided by Lauren Fagan as Musetta, showing her virtuosity at Cafe Momus in singing, dancing across the tables and removing her knickers at the same time. Covent Garden audiences last saw Fagan as Gretel in the Christmas production Hansel and Gretel, but Musetta’s knickers-removing antics at the Cafe Momus are gloriously accomplished and strikingly more adult” (Express)

“Lauren Fagan is a delight as the headstrong, passionate Musetta, who runs rings around her sulky lover Marcello.” (The Stage)

My final performance as Musetta in Richard Jones’ wonderful production of La bohème 💋

“Lauren Fagan’s take-no-prisoners Musetta is irresistible, having great fun with the physical comedy (watch out for the flying knickers) but also giving this good-time girl a stature she often lacks.” (The Times)

“Baritone Mikhail Timoshenko and soprano Lauren Fagan – who blended seriously impressive singing with uninhibited sensuality to magnificent effect.” (iNews)

“Lauren Fagan was everything you could want from Musetta – bold, brassy, and with a heart, as well as voice, of gold. Less coquettish than her predecessor, her performance was full-blooded, and gorgeously sung.” (MusicOMH)

“Standout comedy comes from mischievous Musetta, simultaneously tormenting her sugar daddy and showing off to her ex-lover, painter Marcello, in a riotous restaurant scene that seems to get wilder with every revival since the production’s 2017 debut. Marching from table top to table top, ripping off her knickers, playing to the gallery, Musetta is sung by soprano Lauren Fagan, having a ball and singing with such wit and vocal wizardry” (Culture Whisper)

“As delightful as ever, the outrageously humorous high point is provided by Lauren Fagan as Musetta, showing her virtuosity at Cafe Momus in singing, dancing across the tables and removing her knickers at the same time. Covent Garden audiences last saw Fagan as Gretel in the Christmas production Hansel and Gretel, but Musetta’s knickers-removing antics at the Cafe Momus are gloriously accomplished and strikingly more adult” (Express)

“Lauren Fagan is a delight as the headstrong, passionate Musetta, who runs rings around her sulky lover Marcello.” (The Stage)

Musetta and her Knickers.

@royaloperahouse La bohème ❤️
Conductor: @kerilynnwilsonmaestro
Director: Richard Jones
📸: Camilla Greenwell

Musetta and her Knickers.

@royaloperahouse La bohème ❤️
Conductor: @kerilynnwilsonmaestro
Director: Richard Jones
📸: Camilla Greenwell

Farewell little Gretel - you were a treat! 🍬✨🍭🍰
…most special of all, singing with @hipphanna12 as my Hansel ❤️

📸 Tristam Kenton
💄 @sofiabae74

Farewell little Gretel - you were a treat! 🍬✨🍭🍰
…most special of all, singing with @hipphanna12 as my Hansel ❤️

📸 Tristam Kenton
💄 @sofiabae74

Final Götterdämmerung today @operzuerich! An incredible three months which began with rehearsal breaks at the river ☀️ & ended in a winter wonderland ⛄️ (♥️ to all these beauties I’ve been fortunate to work with)

Final Götterdämmerung today @operzuerich! An incredible three months which began with rehearsal breaks at the river ☀️ & ended in a winter wonderland ⛄️ (♥️ to all these beauties I’ve been fortunate to work with)

OPERA AUSTRALIA DEBUT 🐨

“contrasted with the bright ring of Lauren Fagan’s Sister Genovieffa, surely an Angelica in waiting”

Incredibly excited that this review from 2016(!) is coming true ��😅… Next July I will sing Puccini’s heartbreaking opera ‘Suor Angelica’ at the Sydney Opera House.

OPERA AUSTRALIA DEBUT 🐨

“contrasted with the bright ring of Lauren Fagan’s Sister Genovieffa, surely an Angelica in waiting”

Incredibly excited that this review from 2016(!) is coming true 😅… Next July I will sing Puccini’s heartbreaking opera ‘Suor Angelica’ at the Sydney Opera House.

german culture at its finest 🥨🍺🎶

german culture at its finest 🥨🍺🎶

The Aussies and a Swede sail the Ionian Sea

The Aussies and a Swede sail the Ionian Sea

GOLDEN DAY 🚌
GOLDEN CREW ⚽️
GOLDEN BOOT 🥹

GOLDEN DAY 🚌
GOLDEN CREW ⚽️
GOLDEN BOOT 🥹

Helena - A Midsummer Night’s Dream

“Lauren Fagan’s bitchy Helena casts a spell of her own with her gorgeous musical expressiveness” (iNews)

“…nicely played against Lauren Fagan’s lethally blonde Helena” (The Stage)

“Rachael Wilson’s dark mezzo as Hermia contrasted well with Lauren Fagan’s creamy soprano as Helena, both relishing the comedy in their sparring” (Bachtrack)

📸 Tristam Kenton

Helena - A Midsummer Night’s Dream

“Lauren Fagan’s bitchy Helena casts a spell of her own with her gorgeous musical expressiveness” (iNews)

“…nicely played against Lauren Fagan’s lethally blonde Helena” (The Stage)

“Rachael Wilson’s dark mezzo as Hermia contrasted well with Lauren Fagan’s creamy soprano as Helena, both relishing the comedy in their sparring” (Bachtrack)

📸 Tristam Kenton

Bringing my Agnes from Written on Skin back to life next season in 🇫🇷 - She is quite a VIBE.

“Most thrilling of all, Lauren Fagan’s gleaming, intense performance showed what an extraordinary dramatic creation the character of Agnès is, one of the great operatic heroines of the past 100 years.”
(THE GUARDIAN)

Here is the 2017 version w @patricketerry @ozeffman & The Melos Sinfonia 🎶

Bringing my Agnes from Written on Skin back to life next season in 🇫🇷 - She is quite a VIBE.

“Most thrilling of all, Lauren Fagan’s gleaming, intense performance showed what an extraordinary dramatic creation the character of Agnès is, one of the great operatic heroines of the past 100 years.”
(THE GUARDIAN)

Here is the 2017 version w @patricketerry @ozeffman & The Melos Sinfonia 🎶

Bloody thrilled to be returning to @royaloperahouse in Dec/Jan to eat lots of 🍬🍭 on stage and debut one of the most delightful roles around.

(with my darling friend @hipphanna12 as Hansel)

LONDON FRIENDS - this is the one!!
Tickets on sale soon 🥲❤️🍬

Bloody thrilled to be returning to @royaloperahouse in Dec/Jan to eat lots of 🍬🍭 on stage and debut one of the most delightful roles around.

(with my darling friend @hipphanna12 as Hansel)

LONDON FRIENDS - this is the one!!
Tickets on sale soon 🥲❤️🍬

🥐🥂🇫🇷

🥐🥂🇫🇷

‘Porgi amor’ in Canadian Opera Company’s FIGARO

Conductor: Harry Bicket
Director: Claus Guth

‘Porgi amor’ in Canadian Opera Company’s FIGARO

Conductor: Harry Bicket
Director: Claus Guth

LDN🤍

LDN🤍

Final week in Toronto and looking back on an incredibly fun production of ‘Le nozze di Figaro’ with beautiful colleagues 💍

“But the standout among the astonishingly talented group of performers is Fagan, who so wholly captures the essence of the Countess, drawn between the pain of betrayal and her own desires. When Fagan sings, it’s as if time stops. Her rendition of Dove sono, delivered while lying on the steps of the estate’s main hall, is achingly beautiful, imbued with pain and anger.” – NEXT Magazine

“The vulnerable, though not entirely innocent, Countess Almaviva of Australian soprano Lauren Fagan in a role debut… her voice is simply gorgeous, etching the lovely long lines of her two great arias exquisitely and with great feeling.” – Opera Canada

“Fagan’s crystalline Countess.” – The Globe and Mail

“Dove sono i bei momenti, in which the Countess ponders where “the lovely moments” of her marriage went, is delivered by Fagan with touching conviction and a sonorous, bell-like tone.” – The Globe and Mail

“The ladies were perhaps even better. Lauren Fagan’s Countess trod a careful line between dignified and playful and there was true pathos in her handling of the final scene. She also sang both “Porgi amor” and “Dove sono” absolutely gorgeously.” – Bachtrack

📸: @coopershoots
Director: Claus Guth
Conductor: Harry Bicket

Final week in Toronto and looking back on an incredibly fun production of ‘Le nozze di Figaro’ with beautiful colleagues 💍

“But the standout among the astonishingly talented group of performers is Fagan, who so wholly captures the essence of the Countess, drawn between the pain of betrayal and her own desires. When Fagan sings, it’s as if time stops. Her rendition of Dove sono, delivered while lying on the steps of the estate’s main hall, is achingly beautiful, imbued with pain and anger.” – NEXT Magazine

“The vulnerable, though not entirely innocent, Countess Almaviva of Australian soprano Lauren Fagan in a role debut… her voice is simply gorgeous, etching the lovely long lines of her two great arias exquisitely and with great feeling.” – Opera Canada

“Fagan’s crystalline Countess.” – The Globe and Mail

“Dove sono i bei momenti, in which the Countess ponders where “the lovely moments” of her marriage went, is delivered by Fagan with touching conviction and a sonorous, bell-like tone.” – The Globe and Mail

“The ladies were perhaps even better. Lauren Fagan’s Countess trod a careful line between dignified and playful and there was true pathos in her handling of the final scene. She also sang both “Porgi amor” and “Dove sono” absolutely gorgeously.” – Bachtrack

📸: @coopershoots
Director: Claus Guth
Conductor: Harry Bicket

big city of dreams

big city of dreams

Two sides of the same coin ❤️ AINADAMAR

1. My final time singing Margarita’s Farewell

2. All the other performers LIP-SYNCHING FOR THEIR LIVES side stage 😂

Two sides of the same coin ❤️ AINADAMAR

1. My final time singing Margarita’s Farewell

2. All the other performers LIP-SYNCHING FOR THEIR LIVES side stage 😂

Two months of intense work culminated in last Saturday’s premiere of Golijov’s AINADAMAR.
Performing the role of Spanish actress Margarita Xirgu was unlike anything I’ve worked on before.

So much ❤️ to everyone who has played a part in this unique and unforgettable production and thank you to @deborahcolker who has pushed me further than ever before 💃🏼Show 2 tonight !

Two months of intense work culminated in last Saturday’s premiere of Golijov’s AINADAMAR.
Performing the role of Spanish actress Margarita Xirgu was unlike anything I’ve worked on before.

So much ❤️ to everyone who has played a part in this unique and unforgettable production and thank you to @deborahcolker who has pushed me further than ever before 💃🏼Show 2 tonight !

An incredibly special week having the chance to make my Australian operatic debut as Violetta at @stateoperasouthaustralia with a group of WONDERFUL colleagues. It meant so much to have my family, friends, teacher & mentor in the audience to support me ❤️ 3 more shows & then off to Scotland!

“Lauren Fagan, as Violetta, is beautiful, and the range of her music and emotion is fearless. At every moment in triumph and despair, she holds the audience’s
attention like a star.” (The Advertiser)

“The voices of both Fagan and Wang were thrilling, displaying remarkable control, enthralling the full-house audience. Vocally masterful, in Act 2, was the way her singing conveyed a dignified resistance to Germont’s disdain. It was an engrossing transformation… With rich emotion and despair she acknowledged this with one of the most moving accounts of “Addio, del passato” I have ever heard.” (Backtrack)

“In their lead roles, Lauren Fagan and Kang Wang are astonishing. Fagan’s uncompromising soprano purity is a joy to listen to and her characterization is strong. As the consumptive and unapologetic Violetta who is assailed by the unexpected opportunity of true love, Fagan voices the part majestically and delivers the role with sensitivity and subtlety.” (Stage Whispers)

📸 The Photography Place

An incredibly special week having the chance to make my Australian operatic debut as Violetta at @stateoperasouthaustralia with a group of WONDERFUL colleagues. It meant so much to have my family, friends, teacher & mentor in the audience to support me ❤️ 3 more shows & then off to Scotland!

“Lauren Fagan, as Violetta, is beautiful, and the range of her music and emotion is fearless. At every moment in triumph and despair, she holds the audience’s
attention like a star.” (The Advertiser)

“The voices of both Fagan and Wang were thrilling, displaying remarkable control, enthralling the full-house audience. Vocally masterful, in Act 2, was the way her singing conveyed a dignified resistance to Germont’s disdain. It was an engrossing transformation… With rich emotion and despair she acknowledged this with one of the most moving accounts of “Addio, del passato” I have ever heard.” (Backtrack)

“In their lead roles, Lauren Fagan and Kang Wang are astonishing. Fagan’s uncompromising soprano purity is a joy to listen to and her characterization is strong. As the consumptive and unapologetic Violetta who is assailed by the unexpected opportunity of true love, Fagan voices the part majestically and delivers the role with sensitivity and subtlety.” (Stage Whispers)

📸 The Photography Place

Amazing support from the Land Down Under 🫶🏼🇦🇺

Amazing support from the Land Down Under 🫶🏼🇦🇺

Finally made it back to this perfect place

Finally made it back to this perfect place

An amazing weekend premiering Ethel Smyth’s THE WRECKERS at Glyndebourne.

With an overwhelming standing ovation from the audience, I am now excited to see how the production grows over the next few months as we take it from the Festival to the BBC Proms and Berlin.

“While Lauren Fagan, excellent as always, is the impulsive, unstable Avis” (The Guardian)

“Lauren Fagan’s bright, incisive soprano dominates her scenes” (The Independent)

“Lauren Fagan shines as troubled, jealous Avis” (The Stage)

“A large cast of whom the standouts are Karis Tucker as the rebellious wife and Lauren Fagan as her jealous nemesis” (The Times)

“Avis’ haunting soprano delivered by a radiant Lauren Fagan” (The New Statesman)

“Lauren Fagan sang with a striking sense of intensity and self-possession. What Avis does can be seen as unforgivable, yet Fagan made her believable and understandable whilst giving us some terrific singing” (Robert Hugill)

An amazing weekend premiering Ethel Smyth’s THE WRECKERS at Glyndebourne.

With an overwhelming standing ovation from the audience, I am now excited to see how the production grows over the next few months as we take it from the Festival to the BBC Proms and Berlin.

“While Lauren Fagan, excellent as always, is the impulsive, unstable Avis” (The Guardian)

“Lauren Fagan’s bright, incisive soprano dominates her scenes” (The Independent)

“Lauren Fagan shines as troubled, jealous Avis” (The Stage)

“A large cast of whom the standouts are Karis Tucker as the rebellious wife and Lauren Fagan as her jealous nemesis” (The Times)

“Avis’ haunting soprano delivered by a radiant Lauren Fagan” (The New Statesman)

“Lauren Fagan sang with a striking sense of intensity and self-possession. What Avis does can be seen as unforgivable, yet Fagan made her believable and understandable whilst giving us some terrific singing” (Robert Hugill)

Traviata in Australiaaa 🥰🇦🇺🥀

@victoriacadisch 📸 @sofiabae74 💄@kangwang 🎶

Traviata in Australiaaa 🥰🇦🇺🥀

@victoriacadisch 📸 @sofiabae74 💄@kangwang 🎶

Every now and then an Opera singer’s life
is EXACTLY how everyone else imagines it to be 👸

📸 @victoriacadisch
💄 @sofiabae74

Every now and then an Opera singer’s life
is EXACTLY how everyone else imagines it to be 👸

📸 @victoriacadisch
💄 @sofiabae74

Coming back to the all-consuming (literally..😅) role of Violetta has been one of the most incredible experiences of my life, even more so, working on her during this current period in our lives.

This team and Rodula Gaitanou's 5 ⭐️⭐️⭐️⭐️⭐️ production will stay in my heart forever.

"The performance is so effective, indeed one of the most moving I have seen in London in the past decade, because all three of OHP’s principals have returned to their 2018 roles and inhabit them completely. In Act I Lauren Fagan as Violetta is lyrical, unflamboyant yet technically accomplished, but in Acts II and III mines unsuspected depths of emotion while singing the music with pearly ease." (The Times)

"Lauren Fagan is spellbinding as Violetta, revealing such brilliant control over her sound at every point that her most assertive and sensitive phrases are delivered with equal brilliance and emotion" (Music OMH)

"Soprano Lauren Fagan is entirely assured in negotiating the difficulties of Verdi’s writing with boundless skill and expressivity, presenting his heroine as a multi-faceted human being." (The Stage)

"Warmly assured, forceful but never without that underlying fragility, Lauren Fagan’s Violetta manages the tricky shift from the coloratura high jinks of the opening scenes to the darker, brooding colours of the later acts. If a few of the early top notes tended to drift off into the wide open spaces, her confrontations with Germont and deathbed defiance saw her in absolutely commanding – and extremely moving – form. It’s always hard to attempt to hear, say, Addio, del passato as if for the first time, but Fagan has all the truthful artistry, and strength across her generous soprano span, to strip the crust of routine from such moments. And, when Alfredo and Violetta at last emerge from behind to band to sing (almost) at our feet, it makes the transgressive power of their love thrillingly actual. As her tubercular body fails, her voice acquires an eerie glamour and grandeur. (Arts Desk)

Photos by @aliwright_photographs

Coming back to the all-consuming (literally..😅) role of Violetta has been one of the most incredible experiences of my life, even more so, working on her during this current period in our lives.

This team and Rodula Gaitanou's 5 ⭐️⭐️⭐️⭐️⭐️ production will stay in my heart forever.

"The performance is so effective, indeed one of the most moving I have seen in London in the past decade, because all three of OHP’s principals have returned to their 2018 roles and inhabit them completely. In Act I Lauren Fagan as Violetta is lyrical, unflamboyant yet technically accomplished, but in Acts II and III mines unsuspected depths of emotion while singing the music with pearly ease." (The Times)

"Lauren Fagan is spellbinding as Violetta, revealing such brilliant control over her sound at every point that her most assertive and sensitive phrases are delivered with equal brilliance and emotion" (Music OMH)

"Soprano Lauren Fagan is entirely assured in negotiating the difficulties of Verdi’s writing with boundless skill and expressivity, presenting his heroine as a multi-faceted human being." (The Stage)

"Warmly assured, forceful but never without that underlying fragility, Lauren Fagan’s Violetta manages the tricky shift from the coloratura high jinks of the opening scenes to the darker, brooding colours of the later acts. If a few of the early top notes tended to drift off into the wide open spaces, her confrontations with Germont and deathbed defiance saw her in absolutely commanding – and extremely moving – form. It’s always hard to attempt to hear, say, Addio, del passato as if for the first time, but Fagan has all the truthful artistry, and strength across her generous soprano span, to strip the crust of routine from such moments. And, when Alfredo and Violetta at last emerge from behind to band to sing (almost) at our feet, it makes the transgressive power of their love thrillingly actual. As her tubercular body fails, her voice acquires an eerie glamour and grandeur. (Arts Desk)

Photos by @aliwright_photographs

Back with my Gals ☀️💜

Back with my Gals ☀️💜

Casually trying to steal Hoffmann’s reflection 🪞

@saimirpirguofficial

Casually trying to steal Hoffmann’s reflection 🪞

@saimirpirguofficial

Goodbye beautiful Sydney and all the amazing people in it... I will miss you all so much 😭
Quite happy to be wearing a mask again because the crying was ugly

Goodbye beautiful Sydney and all the amazing people in it... I will miss you all so much 😭
Quite happy to be wearing a mask again because the crying was ugly

Feeling incredibly fortunate to have made my hometown debut with the incredibly inspiring Simone Young and the Sydney Symphony Orchestra. Now just a few days left to enjoy Sydney before flying to Opernhaus Zürich for the beginning of their new production of Hoffmann.

"For this concert soprano Lauren Fagan was placed 15 or so metres away from the rostrum, behind the string section and in front of the woodwinds and brass. As Young told the audience the British-born (😬) Australian singer, making her SSO debut, would have no problem projecting – and she didn’t, her rich and powerful timbre cutting through in Beethoven’s dramatic concert aria, Ah! Perfido (Oh, faithless one), a work which runs the range of emotions and showed why Fagan was selected for Covent Garden’s prestigious Jette Parker Young Artists Program." Daily Telegraph

"Fagan’s is a powerful instrument and she nonetheless soared across the more immediate sound of the string section with her polished soprano. There were some lovely veiled moments in her upper register early in the aria before she allowed her voice to unfurl in the dramatic climax, easily filling the space with her glossy, commanding sound." Limelight

Feeling incredibly fortunate to have made my hometown debut with the incredibly inspiring Simone Young and the Sydney Symphony Orchestra. Now just a few days left to enjoy Sydney before flying to Opernhaus Zürich for the beginning of their new production of Hoffmann.

"For this concert soprano Lauren Fagan was placed 15 or so metres away from the rostrum, behind the string section and in front of the woodwinds and brass. As Young told the audience the British-born (😬) Australian singer, making her SSO debut, would have no problem projecting – and she didn’t, her rich and powerful timbre cutting through in Beethoven’s dramatic concert aria, Ah! Perfido (Oh, faithless one), a work which runs the range of emotions and showed why Fagan was selected for Covent Garden’s prestigious Jette Parker Young Artists Program." Daily Telegraph

"Fagan’s is a powerful instrument and she nonetheless soared across the more immediate sound of the string section with her polished soprano. There were some lovely veiled moments in her upper register early in the aria before she allowed her voice to unfurl in the dramatic climax, easily filling the space with her glossy, commanding sound." Limelight

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