About

Biography

British mezzo-soprano Martha McLorinan trained at the Royal Welsh College of Music and Drama where she held a scholarship with the BBC, won the Margaret Tann Williams Prize, and graduated with first class honours. She has been the recipient of numerous prizes including the Thelma King Award and the ensemble prize at the Royal Over-Seas League. She is a versatile singer and enjoys a varied career of oratorio, opera, consort work, session work and recitals.

Solo highlights of 2019 include her playing First Witch in Purcell’s Dido and Aeneas (London Philharmonic Orchestra/Sir Roger Norrington) at the Royal Festival Hall, singing Bach’s St. Matthew Passion (Orchestra of the Age of Enlightenment/John Butt) at St. John’s Cathedral, Malta, Handel’s Messiah (Academy of Ancient Music/Nigel Short) at the Maarktkirche, Halle, Bach’s St. Matthew Passion at Kings Place (The Feinstein Ensemble/Martin Feinstein), Verdi’s Requiem at Reading Great Hall (Reading Festival Chorus and Johanneskantorei/Greg Hallam), and giving the world premiere of Roth’s Beginnings and Endings (Ex Cathedra/Jeffrey Skidmore) at The Brammell concert hall. She also gave a recital of Russian Song at The Pheasantry with Will Vann, performed Rachmaninoff’s Vespers at Gloucester Cathedral as part of the Three Choirs festival (Ex Cathedra/Jeffrey Skidmore), and sang Bach’s B Minor Mass (The Gabrieli Consort and Players/Paul McCreesh) at Kloster Eberbach as part of the Rheingau Musik Festival.

Martha has extensive experience on the concert platform across both the UK and Europe. Solo highlights include Bach’s St.Matthew Passion and St. John Passion at Birmingham Symphony Hall (Ex Cathedra/Jeffrey Skidmore), Handel’s Messiah at Birmingham Symphony Hall (City of Birmingham Symphony Orchestra/Simon Halsey), Cadogan Hall (English Chamber Orchestra/Nigel Short), and the Mormon Tabernacle, Utah (Tenebrae/Nigel Short), Vivaldi’s Gloria at St. Stephen’s Walbrook (The Gabrieli Players/Paul McCreesh), Bach’s Magnificat at St. John’s Cathedral, Malta (Orchestra of the Age of Enlightenment/James Burton) and at the Nikolaikirche, Leipzig (Solomon’s Knot), Rachmaninov’s Vespers at Milton Court (Ex Cathedra/Jeffrey Skidmore), Brahms’ Liebeslieder Waltzes at Kings Place (The Sixteen/Harry Christophers), and Handel’s Jephtha (Storge) in Maynooth, Ireland (US Berkshire International Choral Festival/Joseph Cullen). She has toured Holland singing Haydn’s Harmoniemesse (The Sixteen and the Orchestra of the Eighteenth Century/Harry Christophers), toured Russia singing Bach’s St. John Passion (The Taverner Consort and Players/Andrew Parrott), and toured Luxembourg and Spain singing Bach’s Christmas Oratorio (Le Concert Lorrain/Andrew Parrott). At the Aldeburgh Festival, she has performed Bach’s Magnificat (Les Siecles and London Voices/Francois Xavier-Roth) at Snape Maltings Concert Hall, and at the Barbican Festival she has performed Copland’s In The Beginning and MacMillan’s Seven Angels (Ex Cathedra/Jeffrey Skidmore) at St. Giles’, Cripplegate.

Martha was broadcast on BBC Radio 3 from York Minster singing lute songs from Anne Boleyn’s Songbook with Jacob Heringman and Kirsty Whatley at the York Early Music Festival. She has performed at the Bristol Song Recital series, and she regularly appears as a soloist with choral societies across the country singing a broad range of repertoire, including works such as Elgar’s The Dream of Gerontius, Mozart’s C Minor Mass and Verdi’s Requiem.

Martha’s operatic roles include The Notary’s Wife and Anna (cover) in Strauss’s Intermezzo and Lotinka in Dvorak’s The Jacobin for Buxton Festival Opera, Second Witch in Purcell’s Dido and Aeneas at the Wigmore Hall (Tenebrae/Trevor Pinnock), and at St. John’s Smith Square (La Nuova Musica/David Bates), and The Sorceress at Birmingham Town Hall (Ex Cathedra/Jeffrey Skidmore), Proserpina and La Messaggera in Monteverdi’s L’Orfeo (i fagiolini/Robert Hollingworth) at the Cheltenham and Swidnica festivals, Mrs.Noye in Britten’s Noye’s Fludde for a community project in Somerset, Dorabella in Mozart’s Cosi fan Tutte for Opus Opera, Jocasta in Stravinsky’s Oedipus Rex at Gresham’s Britten Music Course, Alto 2 soloist in Stockhausen’s Mittwoch Aus Licht for the BBC Proms, Tenth Ewe in Birtwistle’s Yan Tan Tethera for Britten Sinfonia, Lazuli in Chabrier’s L’Etoile and Mrs. Nolan in Menotti’s The Medium, both for the RWCMD. She has also worked for Opera Holland Park for two seasons as a member of the chorus. Martha has been broadcast on BBC Radio 3 singing Third Lady in excerpts of Mozart’s Die Zauberflöte for Charles Hazelwood’s Discovering Music programme.

Martha is also in demand as a consort singer. Her work with Tenebrae has taken her to The Royal Opera House, Covent Garden, where she sang in a quartet of female voices for Joby Talbot’s ballet Alice in Wonderland. She has also toured Betrayal: A Polyphonic Crime Drama (a fully staged show of Gesualdo with six singers and six dancers) and How Like an Angel (a show with seven acrobats and nine singers) with i Fagiolini.

Martha features on various recordings, and can be heard as a soloist in Garcia’s Missa Pastoril (Brazilian Adventures, Ex Cathedra/Jeffrey Skidmore), Alec Roth’s Hymn to Gaia (Shared Ground, Ex Cathedra/Jeffrey Skidmore) Paul Mealor’s Salvator Mundi (A Tender Light, Tenebrae/Nigel Short), Gorczycki’s Conductus Funebris and Litania de Providentia Divina (Grzegorz Gerwazy Gorczycki, The Sixteen/Eamonn Dougan), Mass in G Minor (Ralph Vaughan Williams: A Cappella Choral Works, Laudibus/Mike Brewer), Daniel Lesur’s Cantique des cantiques and Jean Francaix’s Ode a la gastronomie (Amuse Bouche, I Fagiolini/Robert Hollingworth), and was the mezzo-soprano soloist in Tenbrae’s recording of Judith Bingham’s The Drowned Lovers (Music of the Spheres, Tenebrae/Nigel Short), which was nominated for a Grammy.

Future plans include singing Monteverdi in Moscow (i fagiolini/Robert Hollingworth), Bingham’s The Drowned Lovers at the Sydney Festival (Tenebrae/Nigel Short), Mendelssohn’s Die Erste Walpurgisnacht and Dan Forrest’s Requiem for the Living at the Muziekgebouw, Amsterdam (Berkshire Choral International/Joe Miller), and the Angel in Elgar’s The Dream of Gerontius at Milton Keynes Theatre (Milton Keynes City Orchestra/Mark Jordan).