Francesca Chiejina

Soprano

"...even though it’s virtually the first thing we hear, it’s hard to forget the radiance of Francesca Chiejina’s Clara when she delivers her peachy Summertime."

The Times

"Francesca Chiejina produced exquisitely shaped phrases and a luminous sound"

Opera Magazine

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Nigerian-American soprano Francesca Chiejina is a recent graduate of the Jette Parker Young Artists Programme at the Royal Opera House, Covent Garden, where her roles included Countess Ceprano Rigoletto, Lady-in-Waiting Macbeth, Voice from Heaven Don Carlo, and Ines Il trovatore. She also sang Micaëla La tragédie de Carmen at Wilton’s Music Hall, Melantho/Love The Return of Ulysses at the Roundhouse, and the soprano solos in Gorecki’s Third Symphony for the world premiere of a new work by renowned choreographer Crystal Pite for The Royal Ballet, and covered Ifigenia Oreste, Antonia Les Contes d’Hoffmann, Giannetta L’elisir d’amore, and Arbate Midridate, re di Ponto.

In the 2022/23 season she sings High Priestess Aida at Royal Opera House and Lauretta Il Trittico with Scottish Opera. She also sings Górecki's Symphony of Sorrowful Songs for New Crystal Pite with Royal Ballet at Royal Opera House and Tippett's A Child of Our Time with Cambridge Philharmonic Society.

Recent operatic highlights include Mimì La bohème (Nevill Holt Opera, English Touring Opera); Melissa Amadigi (English Touring Opera); Miss Jessel The Turn of the Screw (OperaGlass Works); the title role in English Touring Opera’s film of Elena Langer and Glyn Maxwell’s Ariadne; Freia RhineGold (Birmingham Opera Company); Anne Trulove The Rake’s Progress (Blackheath Halls Opera); her debut with Capella Cracoviensis as Aldimira Sigismondo; her house and role debut as Clara Porgy and Bess at Grange Park Opera; her debut with the Orchestre Symphonique de Montréal (Serena Porgy and Bess); Cio-Cio San Madama Butterfly (scenes) at Guildhall School of Music and Drama; and Pamina Die Zauberflöte, Berta Il barbiere di Siviglia, Countess Le nozze di Figaro (scenes) and Alice Ford Falstaff (scenes), all at the University of Michigan.

On the concert platform she has recently sung Berg’s Seven Early Songs with the Sinfonia of London and John Wilson at the BBC Proms, Mozart’s Requiem with Crouch End Festival Chorus, Richard Strauss’s Four Last Songs with Imperial College Symphony Orchestra at Cadogan Hall, Bach’s St John Passion with Huddersfield Choral Society and Manchester Camerata, Barber’s Knoxville: Summer of 1915 with the BBC Philharmonic and with the Royal Northern Sinfonia at the Sage Gateshead; Handel’s Messiah with the Royal Philharmonic Orchestra at the Royal Albert Hall; Vaughan Williams’s Serenade to Music at the Last Night of the BBC Proms; and Schubert’s Winterreise in recital at Blackheath Halls.

Chiejina has participated in masterclasses with Martin Katz, Kamal Khan, Gianna Rolandi, Joyce DiDonato, Brigitte Fassbänder, Edith Wiens and Felicity Lott. Competition successes include reaching the finals of the inaugural Glyndebourne Opera Cup in 2018, the semi-finals in the National Mozart Competition and winning the GSMD English Song Prize, the GSMD Aria Prize, as well as second prize in the Classical Singer Competition. She was also a finalist in the 2017 Kathleen Ferrier Awards. She has received Loveday, Marianne Falke, Maurice H and Evangeline L Dumesnil, George Shirley Voice and Willis-Patterson Scholarships.

Chiejina studied at the University of Michigan with Martha Sheil and James Paterson, and at the Guildhall School of Music and Drama with Sue McCulloch.

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

La bohème (Mimì)

Nevill Holt Opera, June 2022

With her striking vocal quality and personality, Francesca Chiejina’s Mimi was thus placed at the centre of the action. She opened the show, remaining alone on stage for some moments before the action began, clearly ill with the mortal disease that takes her life at the end of the opera’s inescapable emotional trajectory.

George Hall, Opera Now Magazine

Nigerian-American soprano Francesca Chiejina’s is a superior Mimi, soaring above the score.

Lorien Haynes, The Telegraph

Francesca Chiejina has great presence as Mimì with her soprano possessing a very full and rounded tone.

Sam Smith, Music OMH ****

Chiejina is an apt performer to assume this intensifying of the traditional, more passive conception of the character; throughout the performance she fulfils all dramatic and vocal requirements.

George Hall, The Stage ****

La bohème (Mimì)

English Touring Opera, February - June 2022

...audiences who catch Francesca Chiejina on the company’s 14-venue tour of England this spring will hear a Mimi as beguiling as any I’ve encountered in recent years. The Nigerian-American phrased exquisitely and used her silvery soprano to explore the character’s vulnerability with an ideal blend of sweetness and melancholy. For a role debut it was enchanting.

Mark Valencia, Opera Magazine

There’s one standout voice, and that is Francesca Chiejina as Mimì. She has a warm, sumptuous tone and plenty of power up top…

Richard Morrison, The Times

Though boasting a sumptuous voice […] Francesca Chiejina is not the sort of soprano who craves being the centre of attention, making her Mimi ideally empathetic. One of the best recent alumnae of Covent Garden’s Jette Parker Young Artists Programme, she has the power to ride the orchestra where needed.

John Allison, The Telegraph ****

Vocally, Francesca Chiejina outshines all. Her Mìmì has a calm core that is heightened by the boisterous bantering and an inner radiance that can’t be dimmed by sickness or sadness. Sì, mi chiamano Mimì brings a lovely softness into the artists’ attic, and Chiejina and Botelho sing O soave fanciulla with persuasive feeling.

Claire Seymour, The Stage ****

Francesca Chiejina stood out as Mimì in a performance that displayed control over an ample instrument; we were treated to some fine pianissimi as Chiejina filed down her voice to the most delicate of threads and there was plenty of tonal variety to lend real character to her role.

Dominic Lowe, Bachtrack ****

…Chiejina’s voice soars gorgeously; her pathos when disease takes hold is properly heart-rending.

Michael Church, The i *****

As Mimì, Francesca Chiejina displays her wide range: there is light and shade, power and subtlety and a strong sense of acting through the voice.

Nick Kimberley, Evening Standard

The soprano Francesca Chiejina, who plays Mimi, is amazing. Her voice entrances the audience, conveying so clearly the tumultuous emotions of Mimi.

Alanah Hammond, Muse

Francesca Chiejina, making her role debut as Mimi, combined a lovely warm, creamy vocal tone with a sense of reticence but also self-possession. In Act One, she allowed Luciano Botelho's Rodolfo to make the running, but it was a deliberate decision. Their concluding sequence in that act (his aria, her aria, the duet) was beautifully sung, yet also felt quite naturally believable, heightened conversation as it should be.

Robert Hugill, Planet Hugill ****1/2

Mimi, whose tiny hand is certainly frozen in the bleak setting of the first act, is movingly sung by Francesca Chiejina, who gradually builds the role until by the end she has totally succeeded in making us feel involved with her fate and that of Rodolpho.

John Groves, London Theatre One *****

Francesca Chiejina’s Mimì was the vocal highlight of the evening and a superlative performance in its own right. She was unerringly precise in intonation and showcased a remarkable range of colors across the voice – not least lower down, with some especially honeyed moments. Soft moments were especially impressive – there is little more exciting than really quiet singing – and could be both glassy and crystalline or tender and silken, depending on the moment. Her very final scene demonstrated an extraordinary level of sustained dynamic control, the volume ebbing and melting away ever so gradually over her final passages. She will surely go from strength-to-strength in this role.

Benjamin Poore, Opera Wire

Amadigi (Melissa)

English Touring Opera, October 2021

The opera’s greatness lies in Handel’s delineation of Dardano and Melissa as tragic protagonists unrequited in love, and the performances here are strong. Chiejina is exceptional, whether attempting seduction, conjuring up Furies or giving voice to lonely despair.

Tim Ashley, The Guardian

[Melissa], sung with confidence, beauty of tone, and flexibility by Francesca Chiejina...

Hugh Canning, The Sunday Times

[Amadigi] is a more entertaining work than its unfamiliarity may suggest. It’s one of Handel’s magic operas, its story a typically convoluted mixture of frustrated love affairs, but the dominating role of the sorceress Melissa, well sung by rich-voiced soprano Francesca Chiejina, casts a potent spell throughout (her death scene is musically most original).

Richard Fairman, Financial Times

Francesca Chiejina, as Melissa, flouncing around in garish orange, also excelled at following Handel’s genius for digging beneath the characters’ surfaces, making us share the sorceress’s own pain at getting nowhere loving Amadigi for herself.

Geoff Brown, The Times ****

The most interesting character is Melissa, whose heart is suffused with sorrow and sadism in equal measure – emotions which the Nigerian-American soprano Francesca Chiejina communicates with captivating strength, inspiring scorn and sympathy alike. Chiejina’s rich and full-bodied soprano is flexible and easily encompasses the role’s wide range, allowing her to capture the emotional extremes between which Melissa fluctuates. Thus, the beseeching phrases of the first section of Melissa’s opening aria convey the anguish which Amadigi’s rejection afflicts, but such tenderness is swept aside by tempestuousness in the fiery threats that follow. Chiejina’s suppleness and gleaming tone at the top serve her well in the fiery rage aria, with obbligato trumpet, that closes Act 2 – a virtuosic exultation in violent savagery. In contrast, her final arioso ebbs painfully, the interpretative details deeply affecting.

Claire Seymour, Opera Today

Melissa, the sorceress, is flexibly sung by Francesca Chiejina...

John Groves, London Theatre One

Berg's Seven Early Songs with the Sinfonia of London

BBC Proms, September 2021

Emerging out of the Debussyean, whole-tone haze at the start of “Nacht”, Chiejina’s mellow, liquid flow of sound surged and rippled, easy and unforced in this huge space. This was storytelling from within, voice just another line – sometimes exposed, sometimes concealed – within a constantly shifting orchestral texture: a smudgy chalk-drawing replacing the precision of Strauss’s opening pen and ink.

Alexandra Coghlan, The Arts Desk, 5 September 2021

Fin-de-siècle Vienna followed, with the crepuscular atmosphere of Nacht from Berg’s Seven Early Songs replete with memory and portent. Francesca Chiejina was the soprano soloist, her voice glinting with beauty amid the miraculous orchestrations.

Rebecca Franks, The Times, 6 September 2021

Francesca Chiejina was the soloist in Berg’s Seven Early Songs. Hers is a sweetly lyrical voice, secure in all registers, even in the higher tessitura of Die Nachtigall...

Alexander Hall, Bachtrack, 5 September 2021

Francesca Chiejina was the soprano [....] the sound itself is exquisite.

Tim Ashley, The Guardian, 5 September 2021

RhineGold (Freia)

Birmingham Opera Company, July 2021

…Francesca Chiejina’s vulnerable Freia supplied the evening’s most radiant singing.

Hugh Canning, Opera Magazine

...the vulnerable Freia, ransom for the giants’ non-payment, made more of an impact than usual in Francesca Chiejina’s soaring lyricism. If BOC move on to Valkyrie, she would surely make a good Sieglinde...

David Nice, The Arts Desk

The Turn of the Screw (Miss Jessel)

OperaGlass Works (film), January 2021

The unearthly beauty of Murray’s and Chiejina’s singing adds immeasurably to the sense of evil the pair of them generate.

Tim Ashley, The Guardian, 30 January 2021

Francesca Chiejina’s intense, vulnerable Miss Jessel

Neil Fisher, The Times, 29 January 2021

[Quint’s] evil machinations were supported by Francesca Cheijina’s Miss Jessel in a velvety and haunting portrayal.

Benjamin Poore, OperaWire, 30 January 2021

Francesca Chiejina's sumptuously sung Miss Jessel

Opera Magazine, April 2021

A pretty flawless cast […] Francesca Chiejina’s Miss Jessel, her luscious voice heavy with illicit experience and knowledge.

Alexandra Coghlan, The Spectator, 30 January 2021

Francesca Chiejina is a voluptuous, seductive Miss Jessel

Hugh Canning, The Times, 31 January 2021

Superb performances from […] Francesca Chiejina’s resolute Miss Jessel

George Hall, The Stage, 28 January 2021

The cast is without weakness [...] Francesca Chiejina and Robert Murray are well paired as the ghostly Miss Jessel and Peter Quint.

Richard Fairman, Financial Times, 1 February 2021

It is also strongly cast … Francesca Chiejina looms forlornly as the unfortunate Miss Jessel

Bayan Northcott, BBC Music Magazine (DVD review)

Handel's Messiah

Royal Albert Hall, December 2020

Outstanding singing from ... the soprano Francesca Chiejina took us into a different plane. Chiejina, with her bell-like tone and megawatt smile, is the Christmas angel we all need this year. “Ye shall find rest unto your souls,” she sang, and immediately made good on the promise.

Neil Fisher, The Times, 16 December 2020

Porgy and Bess (Clara)

Grange Park Opera, June 2019

Though there are no weak links in the cast, the revelation of the night is the Francesca Chiejina’s Clara, vocally luminous with superb diction (there are no surtitles), a wonderfully sympathetic stage presence.

David Gutman, The Stage, 11 June 2019

...even though it’s virtually the first thing we hear, it’s hard to forget the radiance of Francesca Chiejina’s Clara when she delivers her peachy Summertime.

Neil Fisher, The Times, 10 June 2019

...Francesca Chiejina's lyrically spellbinding Clara...

George Hall, Opera magazine, August 2019

Francesca Chiejina’s Clara gave us a heart-stoppingly effective “Summertime” at the start of the evening...

Matthew Rye, Backtrack, 10 June 2019

Some of the other characters are outstanding, in particular Francesca Chiejina (recently one of the Jette Parker Young Artists at the Royal Opera House) as a touching and tender Clara, soaring through ‘Summertime’.

Jessica Duchen, The Arts Desk, 10 June 2019

Francesca Chiejina gives goosebump-inducing renditions of the opera's big number "Summertime" throughout.

Fiona Scott, BroadwayWorld, 9 June 2019

…the standard of singing is very high, with several principals really standing out. As Clara, Francesca Chiejina, a former Royal Opera Jette Parker Young Artist, sings ‘Summertime’ with a glistening radiance…

Sam Smith, musicOMH, 10 June 2019

Francesca Chiejina, a Nigerian American, as Clara, sings Summertime with real radiance.

David Mellor, The Daily Mail, 15 June 2019

Recent graduate of the Jette Parker ROH studio, Francesca Chiejina opens the show with a luminous toned "Summertime", the feeling of ease she captures showing off her vocal prowess. This, teamed with a beautiful stage presence, makes her one to watch—she could certainly hold her own in the title role.

Louise Lewis, British Theatre Guide, 8 June 2019

Francesca Chiejina launches the evening with a radiant “Summertime”...

Richard Fairman, Financial Times, 17 June 2019

Macbeth (Lady-in-Waiting)

Royal Opera House, Covent Garden / April 2018

Francesca Chiejina produced exquisitely shaped phrases and a luminous sound as the Lady-in-Waiting

Flora Willson, Opera Magazine

The Return of Ulysses (Melantho / Love)

ROH / The Roundhouse, January 2018

The fluent bass of David Shipley (Antinous) and the pretty soprano of Francesca Chiejina (Melantho) gave special pleasure in an altogether well integrated cast, expertly supported by Christian Curnyn and the Early Opera Company’s chamber orchestra.

The Telegraph, January 2018

The discovery of the evening, and the another ‘significant impression’, was Francesca Chiejina’s simply delicious assumption of Melantho. A Jette Parker Artist, Chiejina acts brilliantly, has phenomenal stage presence, and a voice of gold; all were evident from her assumption of the part of Love at the very outset of the evening. Eminently believable at each and every juncture, always completely focused on the moment dramatically, she is set, I predict, to be a major voice in coming years. She also is blessed by not inconsiderable beauty.

Seen and Heard International, January 2018

Jette Parker Young Artist Francesca Chiejina was a vibrant, vocally lithe Melantho

Opera Today, January 2018

Penelope’s servant Melantho and her swain Eurymachus, enchantingly portrayed by Francesca Chiejina, a Jette Parker Young Artist very much on the up

Classical Source, January 2018

Francesca Chiejina as a vivacious, clear-voiced Melantho

Bachtrack, January 2018

Jette Parker Young Artist Programme’s wonderful young soprano Francesca Chiejina, so good in last summer’s showcase

The Arts Desk, January 2018

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