She was a graduate, in 1992, from the ROYAL ACADEMY OF MUSIC in London, and in 1999, of the ROYAL NORTHERN COLLEGE OF MUSIC in Manchester. Between 1993 and 1995 she was the recipient of a COUNTESS OF MUNSTER MUSICAL TRUST and she has studied voice with Russell Smythe, Robert Alderson and Margorie Thomas.
While at the ROYAL ACADEMY OF MUSIC, Emily Bauer-Jones appeared in such roles as Nancy in Britten’s ALBERT HERRING, the Sorceress in Purcell’s DIDO & AENEAS, as Elizabeth Procter in Robert Ward’s opera, THE CRUCIBLE and as Bianca in THE RAPE OF LUCRETIA and as Maurya in Vaughan-Williams’ RIDERS TO THE SEA. Of this early performance in her career, THE SUNDAY TELEGRAPH wrote, Emily Bauer-Jones impresses with the dignity of her voice – an eloquent contralto – and bearing…. dignified and with sustained beauty of tone…
In 1999 she made her professional debut, covering the role of Genevieve in Debussy’s PELLEAS & MELISANDE for GLYNDEBOURNE FESTIVAL OPERA.
The following year she covered the role of Zenobia in RADAMISTO for OPERA NORTH and she created the role of Mrs. Rochester in the world premiere of Michael Berkeley’s opera JANE EYRE for MUSIC THEATRE WALES. Of these performances, THE INDEPENDENT wrote, Emily Bauer-Jones (as) Mrs Rochester… bewitchingly beautiful and OPERA NEWS USA said, Emily Bauer-Jones… a vocal tour-de-force.
During 2001 she covered Waltraute in DIE WALKURE for SCOTTISH OPERA and the same year made her debut in the role of The Third Lady in THE MAGIC FLUTE for WELSH NATIONAL OPERA, as well as covering the role of Ursula in Berlioz’ BEATRICE & BENEDICT for this same company.
In 2003 she appeared as the contralto in the quintet of servants in the world premiere co-production by OPERA DU RHIN, Strasbourg and MUSIC THEATRE WALES of Indian composer, Param Vir’s opera, ION.
During 2004 Emily Bauer-Jones appeared in the role of Dardano in Handel’s AMADIGI for EARLY OPERA COMPANY, as Suzuki in MADAME BUTTERFLY for WELSH NATIONAL OPERA and as Katherine in Nigel Osbourne’s THE PIANO for MUSIC THEATRE WALES.
On the concert and oratorio stage, her experience is vast and includes being engaged to appear as soloist in Bach’s ST. MATTHEW PASSION at ST MARTIN IN THE FIELDS, ST JOHN PASSION at ROYAL FESTIVAL HALL and the MASS IN B MINOR at ST JOHN’S SMITH SQUARE, in Constant Lambert’s RIO GRANDE and Tippett’s A CHILD OF OUR TIME, both at QUEEN ELIZABETH HALL in London, Elgar’s THE DREAM OF GERONTIUS at SMETANA HALL in Prague, Handel’s MESSIAH at the ROYAL ALBERT HALL in London and DIXIT DOMINUS at BIRMINGHAM SYMPHONY HALL.
At ROYAL FESTIVAL HALL, during 2002, she appeared as soloist in Rodrigo’s TRIPTIC DE MOSEN CINTO with the ROYAL PHILHARMONIC ORCHESTRA and, most recently, in Elgar’s SEA PICTURES in the ALTES RATHAUS in Vienna in 2007 and in MESSIAH with the CITY OF BIRMINGHAM SYMPHONY ORCHESTRA during 2008.
Of her concert and oratorio appearances the WEST SUSSEX GAZETTE said of her performance, in 2008, in CHICHESTER CATHEDRAL with the CHICHESTER SINGERS of the contralto solos in THE DREAM OF GERONTIUS, Emily Bauer-Jones was glorious in the role of the angel her voice just right in its purity, clarity and projection, giving the words great meaning and emphasis., and the WESTERN MORNING NEWS writing of her work in MESSIAH with the THREE SPIRES SINGERS the previous year said, Best of all the soloists was Emily Bauer-Jones. Her voice is exceptionally lovely and she communicated the powerful emotions of the music with a simple directness which was very moving, especially He Was Despised – the high spot of a very fine Messiah., while the WEST SUSSEX OBSERVER wrote of her performance in Elgar’s THE KINGDOM, …excellent, with a voice made for the piece and a full and sensitive range of tone… fluid, faultless and enchanting interpretation., and of MESSIAH, in 2004, with the CHICHESTER SINGERS, the CHICHESTER OBSERVER said, …lovely…lyrical tone used with consummate artistry and intense musicality. Of performances as soloist in Rossini’s STABAT MATER with the GUERNSEY SINFONIA ORCHESTRA & CHORUS in 2015, the GUERNSEY PRESS said, What was particularly enjoyable was the expressive depth of voice of mezzo soprano, Emily Bauer-Jones, who wooed the audience…
Engagements during 2009 included an appearance as soloist in MELBOURNE UNIVERSITY CHORAL SOCIETY‘s performance of the Mozart REQUIEM. For VICTORIAN OPERA she also coverered the roles of Geertje Dircx in REMBRANDT’S WIFE, the Dryad in ARIADNE AUF NAXOS and Amastre in XERXES. She was engaged as soloist in Dvorak’s STABAT MATER by BOX HILL CHORALE during 2010.
Emily Bauer-Jones’ engagements during 2011 included the lead role of Nancy in Britten’s ALBERT HERRING for VICTORIAN OPERA and the role of Stella in its 2012 season of Elliot Carter’s opera, WHAT NEXT?
For VICTORIAN OPERA during 2013 she appeared as the Third Secretary in NIXON IN CHINA a role which she has repeated at the 2016 AUCKLAND FESTIVAL.
2016 included her appearances as soloist in THE DREAM OF GERONTIUS in WINCHESTER CATHEDRAL.
During 2019 she appeared as soloist in the Dvorak STABAT MATER for 3MBS FM at the MELBOURNE RECITAL CENTRE and current plans were to have included a Verdi REQUIEM at QUEEN ELIZABETH HALL in 2020.
© Weaver Artist Management 2021