Carly Owen


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Welsh soprano Carly Owen begins the 2019-20 Season in her second year as principal soprano at Theater & Orchester Heidelberg. She revives her lauded performances of Pamina Die Zauberflöte and Hanna Glawari Die lustige Witwe from last season, as well as performing Marzelline Fidelio, Li Die heilige Ente and Berta Il barbiere di Siviglia. Elsewhere she joins BBC National Orchestra of Wales for Strauss’ Four Last Songs at the Cheltenham Festival in May, a performance that will be broadcast live on BBC Radio 3.

Last season saw two role debuts in Heidelberg as Gilda Rigoletto and Ilia Idomeneo for which she received outstanding critical acclaim. She appeared with the National Youth Arts Wales in a World Premiere of new work Sorrows of the Somme and made her Welsh National Opera debut as Marzelline as part of their FREEDOM season.

Owen was previously a member of the National Opera Studio in London with whom she took part in residencies across the UK showcasing excerpts from roles including Rodelinda (Opera North) director Christopher Alden, Magda Sorel The Consul (St John’s Smith Square) director Keith Warner, The Queen of Shemakha The Golden Cockerel and Susanna Khovanshchina (Scottish Opera) director Max Hoehn, Violetta La Traviata, Alice Ford Falstaff, Rosalinde Die Fledermaus, Contessa Le Nozze di Figaro, Romilda Serse (Welsh National Opera) director Emma Jenkins.

This biography is for information only and should not be reproduced.

Fidelio, Welsh National Opera

June 2019

Carly Owen as Marzelline (who unknowingly lusts after Fidelio, unaware of any mischief in the first act) has some brief moments to shine, though this being a supporting role, she has a few passages to glow in.

The Sprout, Weeping Tudor, 17 June 2019

Idomeneo, Theater & Orchester Heidelberg

January 2019

Carly a high-class Ilia...

ResMusica, Dominique Adrian, 26 January 2019

Rigoletto, Theater & Orchester Heidelberg

September 2018

A masterpiece provided the new cast member Carly Owen in the role of Gilda. Here we are dealing with a wonderful soprano of the best Italian training, with a variety of colors and great differentiation. The sparkling coloratura came perfectly and she was also secure with the height. She sang the "Caro nome" with soul and with great intimacy, it was the highlight of the performance. That was a big achievement! Also she could convince.

Der OpernFreund, Ludwig Steinbach, 1 October 2018

Above all, the new soprano at the house, the Wales-born Carly Owen, as Gilda a vocal portrait of the first class. Light with secure top notes and an expressive middle register make this singer the centre of the performance.

Rhein-Neckar-Zeitung, Matthias Roth, 24 September 2018

Among the singers, Carly Owen crowns this production as Gilda. Her timbre is clear, not too sharp and the interpretation of the Aria Caro nome - beloved name also succeeds with the coloratura and top notes perfectly.

Operapoint, Daniel Rilling, 24 September 2018

That is why they cast the role with a young dramatic soprano, the [Welsh] Carly Owen who has an extraordinary vocal potency and maturity, even though she looks very girly in appearance...Carly Owen also affirms her mature voice in the Caro-Nome aria, which she builds up with some suspense and garnishes with extra-fine coloratura.

Online Merker, Friedeon Rosén, 23 September 2018

Carly Owen sings Gilda brilliantly with gripping coloratura...

Echo Online, Thomas Weiss, 27 September 2018

La Bohème

Diva Opera, August 2017

...the volcanic Musetta of Carly Owen – a veritable condensation of charm and vocal voluptuousness...

Classic Toulouse, Robert Penavayre, 24 August 2017

La finta giardiniera

Royal College of Music International Opera School

Carly Owen was outstanding as Violante; she was compelling vocally and dramatically. Her duet with Belfiore in Act Two, when they had taken leave of their senses, combined farce and a touching child-like quality, which Mozart was later to achieve in The Magic Flute.

Classical Source, Amanda-Jane Doran, December 2016

Soprano Carly Owen, as Violante, was feisty and full of character; she used her focused tone and strong vibrato to convey Violante’s steeliness.

Opera Today, Claire Seymour, December 2016

Carly Owen in the title role had excellent recit skills, with a real feel for Italian phrasing.

Dehggial Wordpress, December 2016

Woolf Works

Royal Opera House

Carly Owen's enchanting notes adds a solitary tone which entwines with Galeazzi's movements

The London Magazine, Abi Lofthouse, February 2017

Carly Owen's Opera Repertoire


I Capuleti e i Montecchi (Giulietta)*


Fidelio (Marzelline)*


Carmen (Micaëla)*


Turn of the Screw (Governess)*


L'elisir d'amore (Adina)*
Don Pasquale (Norina)*


Roméo et Juliette (Juliette)*


Rodelinda (title)*


Die lustige Witwe (Hanna Glawari)


Cendrillon (title)*
Manon (title)*


The Consul (Magda)*


La finta giardiniera (Sandrina)
Le Nozze di Figaro (Contessa)*
Die Zauberflöte (Pamina)
Idomeneo (Ilia)


Khovanshchina (Susanna)


La Bohème (Mimi*, Musetta)
Gianni Schicci (Lauretta)*


The Golden Cockerel (The Queen of Shemakha)


Rigoletto (Gilda)

La Traviata (Violetta)*


Der Freischütz (Ännchen)*

Roles in preparation/partially performed are marked *

Carly Owen's Concert Repertoire




Deutsche Requiem




The Creation




Mass in C Minor


Stabat Mater


Serenade to Music



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