This season soprano Fflur Wyn returns to Welsh National Opera for 1st Niece in Peter Grimes, sings Giulietta in I Capuleti e i Montecchi at West Green House Opera, and on the concert stage she once again joins the Royal Scottish National Orchestra for Carmina Burana, and performs with the BBC Concert Orchestra and National Orchestra of Wales.
Her operatic performances include 1st Niece Peter Grimes (Royal Danish Opera); Jemmy Guillaume Tell, Iphis Jephtha, Blonde Die Entführung aus dem Serail, and Dorinda in Handel’s Orlando (Welsh National Opera); Pamina The Magic Flute, Alice Alice’s Adventures in Wonderland, Vivetta L’arlesiana, and the title role in Lakmé (Opera Holland Park); Malinka The Adventures of Mr Broucek (Grange Park Opera); Barbarina Le Nozze di Figaro (La Monnaie); Lucia Rape of Lucretia (Potsdamer Winteroper); Woodbird Siegfried (Longborough Festival Opera); Esilena Rodrigo (Göttingen International Handel Festival); Celia Lucio Silla (Buxton Opera); Euridice Gluck’s Orfeo ed Euridice, Sophie Werther, Marzelline Fidelio, Susanna The Marriage of Figaro, Morgana Alcina, 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, Fire / Nightingale / Princess L’enfant et les Sortileges and Trio Soprano Trouble in Tahiti (Opera North); Floriana in Leoncavallo’s Zazà (Opera Rara); Mimi in Offenbach’s Vert Vert (Garsington Opera); Nedda Pagliacci with the Cambridge Philharmonic; Michal Saul with the BBC Singers; and Celidora L’oca del Cairo with the London Mozart Players.
Fflur has worked with many great conductors including Sir Colin Davis, Sir Charles Mackerras, Seiji Ozawa, Sir Richard Armstrong, Harry Bicket, David Hill, Daniel Reuss, Thomas Zehetmair, David Parry, Christian Curnyn and Paul McCreesh, and has performed with the RIAS Kammerchor, Copenhagen Philharmonic Orchestra, Cappella Amsterdam, Royal Northern Sinfonia, National Symphony Orchestra of Ireland, Academy of Ancient Music, Dunedin Consort, The Gabrieli Consort, The English Concert, City of Birmingham Symphony Royal Scottish National Orchestras, Royal Philharmonic Orchestra, The European Union Chamber Orchestra, London Philharmonic Orchestra, Early Opera Group, La Nuova Musica, and at the Al Bustan International Music and London Handel Festivals.
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Britten Peter Grimes (First Niece)
Welsh National Opera (April 2025)
…poised singing from Fflur Wyn
Rian Evans, Opera Magazine
…two skittish “nieces”, Fflur Wyn and Eirey Price, both suitably vacuous
Stephen Walsh, The Arts Desk
Fflur Wyn and Eiry Price were flirty yet feisty Nieces, strong in character and well able to fend the men off.
Robert Hugill, Planet Hugill
Orff Carmina Burana, Royal Scottish National Orchestra
Usher Hall Edinburgh (November 2024)
Fflur Wyn… a gorgeously persuasive "Dulcissime".
Simon Thompson, The Arts Desk
Fflur Wyn’s mellow soprano was perfect for the Court of Love duties, stratospheric in “Dulcissime”.
David Smythe, Bachtrack
Jommelli: A Celebration, The Mozartists
Wigmore Hall (September 2024)
The main programme finished with another piece from Jommelli’s 1770 opera Armida abbandonata. ‘Misera Armida… Odio, furor, dispetto’ is sung as Armida’s palace collapses around her and she focuses her mind on exacting revenge. The aria is, however, quite multifaceted and Wyn succeeded in revealing a wide range of emotions, a feat made all the more remarkable by the fact that she stepped in to replace soprano Emily Pogorelc for the concert at very short notice.
Sam Smith, MusicOMH*****
Enter soprano Fflur Wyn who with remarkable virtuosity, killer sight-reading skills (presumably), superb aplomb, and a fabulous frock, sang the soprano solos… We began with 'Vidi il mar tutto in procella' from Ricimero re de' Goti (1740) sung by Fflur Wyn. A simile aria about navigating a storm, it was vividly virtuoso from the outset with Wyn performing with confident style and expressiveness… We ended with a return to the 1770 version of Armida abbandonata with Fflur Wyn giving us Armida's final scene. Again, what Jommelli gave us was an extremely fluid scene which moved between accompanied recitative, aria and arioso, and enabled Wyn to really demonstrate her commitment to the emotional drama of the piece.
Robert Hugill, Planet Hugill
Wagner Siegfried (Woodbird)
Longborough Festival Opera (June 2024)
Fflur Wyn’s beautifully acted, impeccably tuned Woodbird
Roger Parker, Opera Magazine
Fflur Wyn as the Woodbird, personifies an agitated bird with her fluttering eyelashes, quick movements and sweet voice.
Inge Kjemtrup, The Stage*****
Gluck Orfeo ed Euridice (Euridice)
Opera North (November 2022)
Fflur Wyn (Euridice) shines in the confrontation with Orfeo – “Why won’t you look at me? Don’t you love me?"
Ron Simpson, The Reviews Hub
Soprano Fflur Wyn sang creditably as Euridice, a role with rather limited opportunities to shine. In the aria ‘Che fiero momento’ Euridice conveys her sorrow at Orfeo’s possible unfaithfulness and Wyn demonstrated her attributes of warm tone and agreeable levels of sincerity and expression.
Michael Cookson, Seen and Heard International
Gluck Orfeo ed Euridice (Euridice), Chelsea Opera Group
Cadogan Hall (October 2022)
Fflur Wyn was a characterful Euridice, her full lyric soprano shining and glossy. […] she vividly conveyed Euridice’s passion, scorn, and sorrow.
Claire Seymour, Opera Magazine
Handel Theodora (Title role), Northern Aldborough Festival
(June 2022)
Fflur Wyn shares with her colleagues a notable record of Handelian experience, and her Theodora was strongly characterized as well as being beautifully sung. Their final farewell melted sight.
Melanie Eskenazi, MusicOMH*****
Janáček The Excursions of Mr. Brouček (Malinka/Etherea/Kunka)
Grange Park Opera (June 2022)
Brouček is surrounded by Janáček’s well-observed villagers, the painter Mazal (Mark Le Brocq), the bartender Würfl (Andrew Shore), and the Sacristan (Clive Bayley) with his daughter Málinka (Fflur Wyn)… The vocal writing is extremely demanding, not always quite logical, but brilliantly sustained by all.
Nicholas Kenyon, The Telegraph****
Fflur Wyn sings with accuracy and a thrilling shine in her three well-differentiated soprano roles.
Claire Seymour, The Stage****
Fflur Wyn convinced in both roles, as she did in her more serious impersonations in the second half.
Melanie Eskenazi, MusicOMH****
Bach St John Passion, The Academy of Ancient Music
The Barbican (April 2022)
The soprano Fflur Wyn bubbled with joy in her solo
Geoff Brown, The Times****
Mozart Cosi fan Tutte (Despina), Saffron Opera Group
Saffron Hall (February 2022)
As Despina, Fflur Wyn showed off her effortless talent for suggesting mischief simply by standing still and letting an arched eyebrow or minimalist hand gesture take the strain. Her soprano is now quite substantial, but agile and word-friendly, and she radiates vitality.
Alexandra Coghlan, Opera Magazine
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