Gweneth Ann Rand

Gweneth Ann Rand trained at the University of Exeter, Goldsmith's College and the Guildhall School of Music and Drama, London. During her training she received the Maggie Teyte, Ian Fleming and Sybil Tutton Awards. She was a Vilar Young Artist at The Royal Opera House, Covent Garden and in 2001 represented England at BBC Cardiff Singer of the World.

In the current season Gweneth Ann performs in the French premiere of 4.48 Psychosis at the Opéra national du Rhin; Mrs Grose The Turn of the Screw for OperaGlass Works at Wilton’s Music Hall; and Messiaen’s Harawi at the Oxford Lieder Festival with Simon Lepper.

Highlights in recent seasons include acclaimed performances of 4.48 Psychosis for The Royal Opera/Lyric Hammersmith and at the Prototype Festival in New York; Serena in English National Opera’s lavish new production of Porgy and Bess; Mother Hansel and Gretel for ENO at Regent’s Park Open Air Theatre; and Tippett A Child of Our Time at the Brighton Festival with the Philharmonia Orchestra.

Operatic engagements include Aida (English National Opera, Opera Holland Park, Theater Bremen, Oper Kiel, Finnish National Opera, Macedonian Opera, Opera Poznań and Oldenburgisches Staatstheater); Senta Der fliegende Holländer (London Lyric Opera at London's Barbican Hall); Leonora La forza del destino (Oper Köln and Chelsea Opera Group); Leonora Il trovatore (Welsh National Opera); Amelia Un ballo in maschera and Margherita / Helena Mefistofele (Theater Erfurt); Tosca (Teatro Nacional de São Carlos); Gutrune Götterdämmerung (BBC Proms under Donald Runnicles); the title roles inLa Gioconda and La Wally, and Santuzza Cavalleria Rusticana (Opera Holland Park); various roles in the premiere production of Under Milk Wood: an Opera by John Metcalf (Taliesin Art Centre); Bess Porgy and Bess (Basel Chamber Orchestra and Macedonian Philharmonic); Ariadne Ariadne auf Naxos (Orchestre de Picardie); and appearances for The Royal Opera in Elektra, Daphne and The Cunning Little Vixen.

Her varied concert and recital engagements include Schoenberg Gurrelieder (Orquesta Sinfónica de Mineria under Carlos Miguel Prieto and the Melbourne Symphony Orchestra under Markus Stenz); Tippett A Child of Our Time (NDR Hannover, City of Birmingham Symphony Orchestra and Göteborgs Symfoniker under Robin Ticciati); Mahler Das klagende Lied (BBC Proms); the European premiere of Elliott Carter Of Rewaking and Vaughan Williams Third Symphony (both with the CBSO); Verdi Requiem (Truro Cathedral, King’s College Chapel and York Minster); Brahms Ein deutsches Requiem and Strauss Vier letzte Lieder (Canterbury Cathedral); Poulenc Gloria (Three Choirs Festival); Zemlinsky Der Konig Kaudales in Gran Canaria; Dvořák Stabat Mater in Madrid; and Britten War Requiem in Warsaw.

Gweneth Ann is widely known for her acclaimed interpretations of Messiaen’s song cycles Harawi (including Cheltenham Festival, Wigmore Hall and Opera North) and Poèmes pour Mi (Gürzenich Orchester Köln, Tonhalle Orchester Zürich and BBC Scottish Symphony Orchestra all under Jun Märkl). She also performed Harawi as part of the Southbank Centre's composer centenary celebrations From the Canyons to the Stars and at the BBC Proms.

Her recordings include Mélodies Passagères, The Songs of Samuel Barber (Quartz Music); Janáček The Eternal Gospel with the BBC Scottish Symphony Orchestra (Hyperion); Messiaen Poèmes pour Mi (Sanctuary Classics); and John Metcalf’s Under Milk Wood (Ty Cerrd).

Gweneth-Ann Rand is represented by SSArtists worldwide


Messiaen Harawi / Oxford Lieder / 2019
“Rand’s sumptuous voice, technically brilliant, verbally agile and expressive… The concert turned out to be a contender for the fast-approaching best-of-year list.”
(The Guardian)

Gwen / 4.48 Psychosis / Opéra national du Rhin / 2019

“Let us salute the tireless performance of the six singers on stage, permanently moving and whose interpretation of the score is impressive. The dramatic and theatrical commitment is combined with an undeniable musical intensity. The driving force is Gweneth Ann Rand; her expressive force and vocal dexterity are astounding."

“Gweneth Ann Rand, in the principal role naturally holds the attention, all the more since she uses her full soprano to the greatest effect..."
(Forum Opera)

Messiaen Harawi / Howard Assembly Room / 2017
“Gweneth Ann-Rand's large and flexible voice admirably meets Messiaen's requirement for a dramatic soprano. The singer's immense dynamic range channelled into her subtly hued colouring of the words held the audience in thrall from the first note to the final Mon amour, mon souffle!”
(Ilkley Gazette)