PAULASIDES.COM SOPRANO

PAULA SIDES


Paula was awarded the Tagor Gold Medal from the Royal College of Music and won the Karavoitis Prize in the Les Azureal International Competition. She will be performing Donizetti’s Lucrezia Spring 2023 for ETO, and returning to Scottish Opera for Dove’s Marx in London UK premier in 2024. She has performed on stages and concert platforms across the UK, the United States, and Europe. Paula was born in Tennessee and has since made the UK her home. She recently wrote a libretto for a children’s opera which was premiered for English Touring Opera in Spring 2021. She is also a passionate singing teacher who has experience working in the NHS Voice Clinic.

Operatic engagements include: Cunegonde Candide (Scottish Opera), Tsaritsa of Shemakha Golden Cockerel, Mimì La Bohème, Elettra Idomeneo with English Touring Opera. Recent roles include Donna Anna Don Giovanni (Longborough Festival Opera); Giulietta Un giorno di regno, title role Thaïs (Chelsea Opera Group); Cunegonde Candide (Iford Arts). As a concert soloist: Mahler 8th Symphony (Opera North Symphony Orchestra); Mahler 2nd Symphony, Strauss Four Last Songs, Rossini Stabat Mater, Mozart Requiem, Beethoven Missa Solemnis and Mass in C, Dvořák Te Deum, Britten War Requiem (Southampton Philharmonic and London Mozart Players).

PRESS

  • “Cunegonde (Paula Sides) kicked seven bells out of a pile of designer shopping before Instagramming herself nailing the coloratura in ‘Glitter and Be Gay’: an upper register like sequins.”

    Spectator 2022

  • “Paula Sides’ slinky Cunegonde (whose set piece Glitter and Be Gay is a tour de force)”

    Guardian 2022

  • “Paula Sides sings Cunegonde’s glittering coloratura with great panache!”

    The Times 2022

  • “Boasting universally superb performances – not least from William Morgan (Candide), Paula Sides (Cunegonde) and Ronald Samm (Pangloss) – this is a magnificently confident and colourful production.”

    Telegraph 2022

  • “Sides’ voice has a distinctive, concentrated tang and is arrestingly resonant in its lower reaches, though she could also cap ‘Dis-moi que je suis belle’ — both coquettish and vulnerable — and a searingly intense final scene with fearless high Ds.”

    Yehuda Shapiro, Opera Magazine 2022

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