Fflur Wyn


"Fflur Wyn’s singing was clear and beautifully articulated, and a natural acting instinct made her pivotal."


"Fllur Wyn sang Celia with sparkling coloratura"


"As well as clear diction, Wyn displayed a fine soprano voice – bright and supple but with a pleasing, steely quality in the upper register – and breathtaking technical control."

Financial Times

"Fflur Wyn's Flora is beautifully sung and convincingly petulant."

The Guardian

"Fflur Wyn is a charming Servilia."

The Telegraph

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Having already gained wide acclaim for her performances on the operatic stage as well as the concert platform, Welsh soprano Fflur Wyn is quickly establishing herself as one of the country’s foremost young singers. She was recently elected an Associate of the Royal Academy of Music (ARAM) in recognition of her distinguished contribution to the music profession so far.

Her operatic performances include Jemmy Guillaume Tell, Iphis Jephtha, Celia Lucio Silla, Blonde Die Entführung aus dem Serail, and Dorinda in Handel’s Orlando (Welsh National Opera); Pamina The Magic Flute, Alice Alice in Wonderland, and the title role in Lakmé (Opera Holland Park); Barbarina Le Nozze di Figaro (La Monnaie); Governess Turn of the Screw (Mexico City); Sophie Werther, Marzelline Fidelio, Servilia La Clemenza di Tito, Blue Fairy Pinocchio, Waldvogel Siegfried, Achsah Joshua, Gretel Hänsel und Gretel, Flora Turn of the Screw, Clerida Croesus, Giannetta L’elisir d’amore, Sophie Der Rosenkavalier (Opera North); Floriana in Leoncavallo’s Zazà (Opera Rara); Mimi in Offenbach’s Vert Vert (Garsington Opera); Michal Saul with the BBC Singers; and Celidora L’oca del Cairo with the London Mozart Players.

Fflur has worked with many great conductors and orchestras including Sir Colin Davis, Sir Charles Mackerras, Sir Richard Armstrong, Harry Bicket and the Royal Philharmonic Orchestra, London Symphony Orchestra, London Philharmonic Orchestra, The Gabrieli Consort and The English Concert. Recent recitals include performances at Kings Place, St John’s Smith Square, Wilton’s Music Hall and The Howard Assembly Room.

Recent and future performances include the roles of Lucia Rape of Lucretia with the Potsdamer Winteroper, Marzelline Fidelio and Susanna The Marriage of Figaro in a return to Opera North; Vivetta L’arlesiana for Opera Holland Park, where she previously revived her role in her critically acclaimed performance of Alice’s Adventures in Wonderland; Esilena in Handel’s Rodrigo with the Göttingen International Handel Festival; Fido Paul Bunyan for English National Opera; Cunegonde Candide for West Green House Opera; Handel's Ode for St Cecilia's Day with the English Concert under Harry Bicket; Bach's B Minor Mass with the Royal Northern Sinfonia, and at the Al Bustan International Festival in Beirut; Orff’s Carmina Burana with the CBSO and the RSNO; and Bach’s St Matthew Passion with the Dunedin Consort.

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

Beethoven Fidelio (Marzelline), Opera North

(December 2020)

Youthful charm exuded from Fflur Wyn

The Telegraph

Fflur Wyn, who was Marzelline also in the 2011 Opera North staged production, slots into her role with ease, and the great canon quartet, “Mir ist so wunderbar”, is cleverly presented as well as beautifully sung.

Robert Beale, The Arts Desk​​​

Fflur Wyn’s bright, sympathetic Marzelline

Fiona Maddocks, The Guardian*****

Fflur Wyn – another whose voice has grown in recent years – made a warm Marzelline…

Opera Magazine

Mozart The Marriage of Figaro (Susanna)

Opera North (February 2020)

Soprano Fflur Wyn was a terrific, spirited Susanna, her voice purer and clearer the higher she reached, and adept at the stylised gestures used by all the characters, particularly with the arms and hands.

Richard Wilcocks, Bachtrack****

Opposite him was Fflur Wyn, also new to her role as Susanna, a calculating creature - Antonio's social-climbing niece - rather than a playful minx. Her soprano was light and clean...

Martin Dreyer, Opera Magazine

Fflur Wyn as Susanna switches effortlessly between humour and high emotion

Yakub Qureshi, Manchester Evening News*****

Fflur Wyn’s Susanna is sweet and down to earth

John Murphy, The Stage****

…Fflur Wyn’s mercurial Susanna.

Melanie Eskenazi, MusicOMH****

Under the direction of Davies, this cast is led by Rhodes and Wyn who have put on an excellent performance

Dawn Smallwood, The Reviews Hub

Fflur Wyn’s characterisation of Susanna is a delight

Jim Jack, Ilkley Gazette

​ CD: Handel Samson (Philistine Woman, Virgin), Dunedin Consort

CKD 599 (October 2019

Soprano Fflur Wyn and tenor Hugo Hymas, singing with attractive youthful tone, do well in supporting roles.

Richard Wigmore, Gramophone

Fflur Wyn and Mary Bevan superb in the smaller soprano roles

Keith Bruce, The Herald

We discover with great pleasure the fruity and light soprano from the Welsh Fflur Wyn, which we hope to hear soon in other forays.

Pierre Degott, ResMusica

CD: Handel Rodrigo (Esilena), International Handel Festival Göttingen

ACC 26412 (October 2019)

As Rodrigo’s masochistically long-suffering wife Esilena, Fflur Wyn is every bit a match for Sandrine Piau on the rival recording, praise indeed. She beautifully catches the mingled agitation and pathos of the superb ‘Empio fate’ and the grieving tenderness of ‘Perche viva il caro sposo’… and is delightfully blithe as she looks to a happy future in the catchy ‘Si che lieta’. Wyn’s poise and coloratura brilliance even converted me to Esilena’s overlong showpiece with violin solo that closes Act 1.

Richard Wigmore, Gramophone

Mistress of the plot, Esilena is played by soprano Fflur Wyn. Her clear, airy timbre has a lot of charm, especially when trying to keep hold of Rodrigo through long decorative ornaments in "In mano al mio sposo". In the second act, her offer of peace to her rival ("Egli è tuo") is touching with sincerity… She concludes the first act brilliantly with a beautiful "Per dar pregio", in a stunning duel of ornaments with the first violin Elizabeth Blumenstock.

Brigitte Maroillat, Forum Opera

As the two women in the king's life, Fflur Wyn and Anna Dennis both cut sympathetic figures.

Brian Robins, Opera Magazine

Cilea L’Arlesiana (Vivetta), Opera Holland Park

(July 2019)

…impassioned performances by Samuel Sakker, Yvonne Howard and Fflur Wyn

Rupert Christiansen, The Telegraph

Fflur Wyn was desperately sweet as his luckless fiancée Vivetta

Richard Bratby, The Spectator​

…as Vivetta, the village girl whose secret love for him is revealed, Fflur Wyn sings with particularly touching grace

Stephen Pritchard, The Observer

Fflur Wyn supplied shining purity and even imploring strength as Vivetta, the girl (a Micaela figure, if you like) who might have been able to rescue Federico

John Allison, Opera Magazine

He conveyed emotional bewilderment, as did Fflur Wyn’s Vivetta, sweet of voice and personality, but also suggesting some mettle beneath the surface.

Francis Muzzu, Opera Now

Wyn’s lyric soprano is developing real force at the top, and she’s the most simpatica of singers; again, keeping it simple and true works wonders on the drama.

David Nice, The Arts Desk

…soprano Fflur Wyn is delightful

Warwick Thompson, Metro

Fflur Wyn made Vivetta a really credible character - vivacious and sympathetic: no pale Micaëla to an imagined Carmen was she.

Claire Seymour, Opera Today

[Fflur Wyn] looks and sounds fresh and young – perfect for the role, and absolutely believable musically, too.

Colin Clarke, Seen and Heard International

Handel Rodrigo (Esilena), International Handel Festival Göttingen

(May 2019)

Fflur Wyn’s Esilena is the moral heart of the piece, albeit compromised by the child as human shield, and her singing reflects this sincerity.

Catriona Graham, The Opera Critic

The Welsh soprano Fflur Wyn made an excellent Esilena.

Jürgen Gahre, Opera Now

Handel's score was reserved for his wife Esilena in the form of the soprano Fflur Wyn: on a perpetual breath, she sings her very long, soft notes dreamily.

Kirsten Liese, Deutschlandfunk

The young Welsh soprano Fflur Wyn has just that ingratiatingly warm timbre that contrasts sharply with the escalating vehemence of Anna Dennis in the role of her rival, Florinda.

Joachim Lange, nmz online

Fflur Wyn is rightly restrained and demure as his [Rodrigo’s] suffering wife, to whom he is eventually reconciled (after plots against him) though she combines that with quiet sensuousness to make it dramatically plausible that she might win round such a playboy

Curtis Rogers, Classical Source

With a warm soprano and clear treble, she [Wyn] underscores the gentle character of the Queen, who is always eager to resolve conflicts peacefully. A musical highlight is her great aria at the end of the first act, when she decides to go to Florinda and offer the rival the place at the king's side.

Thomas Molke, Online Musik Magazin

Wide-awake, lively, the wonderful Fyn Wyn as Esilena captivates us. Her Esilena is a strong, ever-forgiving female character.

Barbara Röder, klassik.com

Orff Carmina Burana, Royal Scottish National Orchestra

(March 2019)

The fine trio of soloists was crowned by the stratospherically pure soprano of Fflur Wyn

Simon Thompson, The Times

The voices of the Chorus and the Probationary Choirs of the Junior Chorus were of the high echelon as we have come to expect. So too Fflur Wyn, soprano, and Adrian Dwyer, tenor.

Barnaby Miln, Edinburgh Guide​

Britten Paul Bunyan (Fido), English National Opera

(September 2018)

Then there are two exceptional sopranos, Rowan Pierce and Fflur Wyn.

David Mellor, The Daily Mail*****

Handel The Choice of Hercules (Pleasure), Gottingen Handel Festival Gala Concert

Stadthalle, Göttingen (May 2018)

Pleasure was sensuously sung by Fflur Wyn, bringing to bear a pretty but clear and carrying soprano voice, especially attractive in “Turn thee, youth”.

Sandra Bowdler, bachtrack****

Handel Occasional Oratorio, London Handel Festival

St George’s Hanover Square (April 2018)

…we were treated to Fflur Wyn’s sweet and focused soprano

Sam Smith, MusicOMH****

L'enfant et les sortilèges / Trouble in Tahiti, Opera North

Grand Theatre Leeds (October 2017)

Superb work here from Fflur Wyn

David Nice, The Arts Desk

A swing-style vocal trio provide a Greek chorus born of the advertising age. This trio, Bernstein instructs, “must be as conventionally handsome as possible, and must never stop smiling”. Fflur Wyn, Joseph Shovelton and Nicholas Butterfield crooned beautifully.       

Fiona Maddocks, The Times

The radio trio (Fflur Wyn, Joseph Shovelton and Nicholas Butterfield) were delightful.

Anthony Arblaster, Opera Now

The crisply clear trio (Fflur Wyn, Joseph Shovelton and Nicholas Butterfield) pointed up the satire with style, gusto and razor-sharp timing

William Ruff, Nottingham Post

A gifted cast round up the other roles – Fflur Wyn ... – the sort of team only an ensemble enterprise of this kind could provide for Ravel’s 45-minute fantasy.

Robert Beale, The Arts Desk *****

Fflur Wyn is a touching Princess from the storybook which the child has torn up

Richard Wilcocks, Bachtrack ****

Mozart Lucio Silla (Celia), Buxton Festival

Buxton Opera House (July 2017)

Fflur Wyn’s sweet-toned, sweet-natured Celia…makes [her] mark musically

Alexandra Coghlan, The Spectator

Fflur Wyn’s cleanly articulated Celia

George Hall, thestage.co.uk

As Celia the sunlight that radiated from Fflur Wyn’s singing lit up the stage – as it always does.

Richard Bratby, theartsdesk.com

The role of Celia is the secondary female role, but the music is no less difficult and Fllur Wyn sang Celia with sparkling coloratura. But she also made Celia's unspoken love for Cinna profoundly touching, with a couple of very moving arias

Robert Hugill, planethugill.com

[Celia] portrayed excellently by Fflur Wyn.

Robert J. Farr, seenandheard-international.com

Fflur Wyn is persuasive in the second-soprano role of Celia

David Mellor, Mail Online

Handel Joseph and His Brethren (Asenath)

London Handel Festival, St George’s, Hanover Square, London (April 2017)

Fflur Wyn, standing in for Elizabeth Watts as Asenath, was especially good and got a big cheer for ‘Prophetick raptures’, where the tumbling coloratura spills into Rossinian levels of joy-through-semiquavers.

Robert Thicknesse, Opera Now

Humperdinck Hansel und Gretel (Gretel)

Opera North, Grand Theatre Leeds (February 2017)

Katie Bray’s Hansel and Fflur Wyn’s Gretel sing with a light, spontaneous ease that overcomes the disconnect of a pair of pre-teens expressing themselves with mature, adult voices. The famous duet in which they sing themselves to sleep is breathtaking.

Alfred Hickling, The Guardian

Katie Bray and Fflur Wyn could scarcely be bettered as the eponymous brats.

Rupert Christiansen, The Telegraph

Fflur Wyn‘s sparkling performance as Gretel makes her an ideal loving sibling.

Richard Wilcocks, bachtrack.com

Fflur Wyn and Katie Bray made a delightful and highly characterful pairing as the siblings.

Robert Hugill, planethugill.com

Strauss Der Rosenkavalier (Sophie)

Opera North, Grand Theatre, Leeds (September 2016)

Fflur Wyn has a delightfully diaphanous tone as Sophie.

Alfred Hickling, The Guardian

Fflur Wyn’s Sophie was a delight, sparky and determined, always her own woman. She floated her high notes beautifully too.

Martin Dreyer, Opera Magazine

The outstanding vocal performance comes from Fflur Wyn as Sophie, the faux-naif little rich girl who becomes the inadvertent agent of change. She has the purity of tone and the consistent vocal support to stand out in the trio, allied to a fascinating characterisation that left us guessing as to how innocent she really is.

Richard Ely, bachtrack.com

Fflur Wyn, a radiant, vocally limpid and emotionally truthful Sophie.

Mark Valencia, whatsonstage.com

Fflur Wyn was an enchantingly innocent, yet sparky Sophie.

Elaine Annable, The Yorkshire Times

Handel Saul (Michal)

BBC Singers, Milton Court, London (April 2016)

Fflur Wyn’s Michal was charming.

Curtis Roger, classicalsource.com

Mozart L’oca del Cairo

London Mozart Players, St John’s Smith Square, London (April 2016)

A first-rate cast notable for…enchanting soprano Fflur Wyn.

Rupert Christiansen, The Telegraph

Fflur Wyn also shone.

Jack Johnson, bachtrack.com

The soloists, who included…Fflur Wyn…were also excellent.

Sam Smith, musicOMH

Grace Williams Missa Cambrensis

BBC National Orchestra of Wales, St David’s Hall, Cardiff (March 2016)

Wyn’s soprano was outstanding, soaring over everything and bringing out the anguish in Williams’ expansive phrases.

Rian Evans, The Guardian

Leoncavallo Zazà (Floriana)

Barbican, London (November 2015)

Fflur Wyn…made [her] mark among the populous cast.

Fiona Maddocks, The Observer

Excellent supporting performances from…Fflur Wyn.

Hugo Shirley, Gramophone

As Floriana, Fflur Wyn sparkled in her Act 1 aria.

Claire Seymour, Opera Today

Fflur Wyn was brilliant as the singer Floriana.

Robert Hugill, planethugill.com

Handel Orlando (Dorinda)

Welsh National Opera, Wales Millennium Centre (September 2015)

Meanwhile, Dorinda…is sung with great accomplishment by Fflur Wyn.

Rian Evans, The Guardian

A musical highlight was Evans and Blaze’s bittersweet trio with the luminous Fflur Wyn, superb as the young but wise, hopeful yet resigned Dorinda

Rebecca Franks, The Times

Individually they were all first-rate:...Fflur Wyn and Rebecca Evans the elegantly twittering and lamenting ladies, Robin Blaze their second-string suitor.

Rupert Christiansen, The Telegraph

Fflur Wyn – all sweetness and light, no shades of Nurse Ratched or the Cuckoo’s Nest here – rose admirably to the considerable demands of the music; her singing was highly musical and beautifully articulated, her diction perfect.

Rian Evans, Opera

Fflur Wyn is delightful as poor Dorinda…technically superb.

Stephen Walsh, theartsdesk.com

Fflur Wyn as beautifully-voiced Dorinda.


Delibe Lakmé (Title role)

Opera Holland Park, London (July 2015)

In the end, though, Lakmé stands or falls by the quality of the singing. In the title role, Fflur Wyn has the measure of the coloratura of the Bell Song, sustains the lyric line of the act one duet, ably abetted by Katie Bray’s Mallika, and finds the range of expression to make the scene of self-sacrifice truly affecting in the final act.

Martin Kettle, The Guardian

Fflur Wyn was quite enchanting in the title-role, singing diamantine coloratura with near-perfect accuracy of intonation and coruscating tone, complemented by the warm honeyed tenor of Robert Murray as the smitten army officer. Their duets were as pleasurable as their arias, and both demonstrated an elegant sense of Gallic style.

Rupert Christansen, The Telegraph

Fflur Wyn’s Lakmé is small but perfectly formed, her Bell Song a glittering highlight.

Alexandra Coghlan, The Independent

[Wyn] sings sincerely, accurately and stylishly.

Anna Picard, The Times

"The star was Fflur Wyn as Lakmé, not merely because she sings the title role with its pinging, stratospherically high “Bell Song”, one of the most celebrated of coloratura showpieces...Wyn radiates a tender determination."

Fiona Maddocks, The Observer

Fflur Wyn has the delicate, pure quality in her voice to make the celebrated “Bell Song” echo like a tintinnabulation from afar, and can summon enough vocal strength to fill the semi-open-air theatre.

Richard Fairman, Financial Times

Fflur Wyn, as the Hindu Princess Lakmé, had the necessary vocal lightness for the Bell Song’s coloratura…her control and effortless top register were impressive. She was just as effective in the Flower Duet, in the company of Katie Bray as her servant Mallika, and her expansive lyricism in the Act 3 love duet was worth the wait.

Peter Reed, Opera

It all made Fflur Wyn’s mesmerising performance as Lakmé all the more admirable – done with great nerve and stillness, and sung with the right degree of other-worldly beauty which contained much human strength.

Robert Thicknesse, Opera Now

Lakmé demands much of the soprano tackling the title role. Fflur Wyn delivered a strong performance – more sensual woman than chaste priestess – her lyric soprano opening up beautifully in its upper reaches. In the famous Bell Song “Où va la jeune Hindoue", she demonstrated hypnotic melismata, a sure trill, delicate pianissimi and a fine top E.

Mark Pullinger, bachtrack.com

The singing is of a uniformly high standard. In an unbeatable combination, Fflur Wyn’s Lakme marries technical skill with lyric warmth, also embodying physically the heroine’s spiritual status as the daughter of the gods.

George Hall, The Stage

I’d mislabelled Fflur Wyn, so good in Handel and as Alice in Will Todd’s site-specific opera for children returning to Holland Park later this month, as just a stylish light lyric; the voice now opens out gloriously whenever it goes up and over in Delibes’s more ecstatic phrases. Lakmé is only really a coloratura role in the celebrated highlight; leading up to it, the unaccompanied vocalise is here a model of bel canto, and the Bell Song itself has plenty of stylish trills as well as more of that opening-out which sets the seal of distinction on this performance. Joan Sutherland spoilt us for a fullness in the top E at the end, but Wyn just about carries that off, too.

David Nice, theartsdesk.com

The cast is a strong one, dominated where necessary by Fflur Wyn’s assumption of the title-role which brings out Lakmé's warmth and underlying compassion as she contends with the culture clash between her high-priest father and her army-officer lover. Not that her portrayal is ever merely efficient, as is witnessed by the near-flawlessness of her coloraturain the once-famous ‘Bell Song’ or the deft winsomeness with which she dovetails with Mallika in the still-famous ‘Flower Duet’.

Richard Whitehouse, classicalsource.com

OHP fielded a strong trio of principals led by Fflur Wynn’s lovely Lakmé. Wynn is closer in voice to the lighter end of the spectrum – certainly more Dessay than Sutherland. But her voice is immensely attractive and she has the full measure of the part... She looks beautiful onstage and fully commanded our sympathy at the end, despite Delibes’ rather hurried build up to her suicide. I hope to return later in the run to hear her again.

Sebastian Petit, Opera Britannia

Bach St Matthew Passion, Orchestra of the Age of Enlightenment

Royal Festival Hall, London (April 2015)

However, most memorable of the singers was the tender and engaging voice of soprano Fflur Wyn whose aria, daringly soft at times, fiery and strong at others, had warmth and pathos.

Claire Hazelton, The Guardian

Jemmy, Guillaume Tell

Welsh National Opera (October 2014)

Fflur Wyn enchanting as Jemmy, tiny of stature but fielding a strong top line in many of the ensembles.

Rodney Milnes, Opera

Among the females, it was Welsh soprano Fflur Wyn in the role of Tell’s son, Jemmy, who carried the strongest performance throughout.

Peter Reynolds, Opera Now

Mimi Vert-Vert

Garsington Opera (July 2014)

The cast is pretty much faultless… Fflur Wyn is all pert charm and diamond sparkle as the infatuated sixth former in hot pursuit.

Rupert Christiansen, The Telegraph

Fflur Wyn is a delightful Mimi.

George Hall, The Guardian

little maids from school, led by our heroine Mimi — in Fflur Wyn a bright-eyed and bright-voiced soprano.

Hilary Finch, The Times

The loveliest girl in the form of Mimi, sung with ineffable grace by Fflur Wyn.

Michael Church, The Independent

Fflur Wyn [is] simply enchanting as the schoolgirl.

Rodney Milnes, Opera

The cast is excellent, too, led by Fflur Wyn and Robert Murray, both singing with disarming clarity and grace as Mimi and Valentin.

Hugo Shirley, The Spectator

There are some wizard performers. You want to wrap up Fflur Wyn up and spirit her away – the very point of the opera – whether she’s in blue school lacrosse-stick togs, or kitted out as a tiny scarlet bombardier.

Roderic Dunnett, The Arts Desk

A bevy of convent girls led by the admirable Fflur Wyn.

Barry Millington, Evening Standard

Au Monde

La Monnaie (June 2014)

Fflur Wyn as the youngest sister and Yann Beuron as the son-in-law are both excellent.

Francis Carlin, Financial Times

The singers could scarcely have been better...Fflur Wyn as [one of] the three sisters.

John McCann, Opera

The no less remarkable young Fflur Wyn, one element of purity but oh how tormented in this world of depravity that is not hers.

Claude Jottrand, ForumOpera.com (trans.)Claude Jottrand, ForumOpera.com (trans.)

How the Whale Became

Royal Opera/Linbury Studio Theatre (December 2013)

There’s also a terrific cast led by the enchanting Fflur Wyn.

Rupert Christiansen, The Telegraph

Individual performances, too, are strong, with Fflur Wyn’s assignments as the Girl, Polar Bear and Cow all finely achieved.

George Hall, The Stage

Soprano Fflur Wyn is on delicious form.

Helen Wallace, Classical-music.com

Fflur Wyn's shining, iridescent timbre gave Polar Bear a stylish cosmopolitan sophistication, and yet her astonishing vocal control brought devastating sadness to that duet.

Edward Lewis, Classical Source

Alice Alice’s Adventures in Wonderland

Opera Holland Park (June 2013)

Leading the excellent cast, many of whom double their roles, is Fflur Wyn, a wide-eyed, bright-toned Alice.

John Allison, The Telegraph

Both charming and knowing as Alice, Fflur Wyn leads the team appealingly and skilfully.

George Hall, The Stage

Fflur Wyn is outstanding as Alice…she has excellent control over her fine soprano voice. Wyn acts with admirable conviction, too.

Susan Elkin, What’s On Stage

Fflur Wyn portrayed Alice’s blend of innocence and wisdom with a winning charm, and she had an impressive show-stopper, a kind of power ballad in praise of living one’s dreams.

Peter Reed, Opera Magazine


Opera North

The talented Fflur Wyn as his daughter Achsah whose lovely arias include the ingenious ‘As Cheers the Sun’, was fresh-voiced and touching.

Fiona Maddocks, The Guardian

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