|
Neil Allen
 Neil
came to singing later than most, and via an unusual
route compared to most trained professional singers
today. From age 16 till age 30, he worked as a bricklayer.
At 27, he and a friend started a singing comedy duo
as a hobby. After vocal problems, he sought a singing
teacher. The teacher discovered a tenor voice of such
fine quality that Neil was encouraged to train full
time. Without any musical background or education,
this presented a huge undertaking. Neil decided to
train privately with Michelle Wegwart and Magdala
, and now 10 years on enjoys a successful career.
In addition to training with Michelle Wegwart, Neil
also trained with Lyndon Vanderpump of the Royal College
of Music, London. He launched his professional career
8 years ago with the leading role in Cavalleria Rusticana/
Turridu and has since performed with City of Birmingham
Touring Opera in their production of Macbeth singing
the role of Malcolm/ MacDuff. For Garden Opera, Tamino
and Nemorino. With Travelling Opera, Tamino, Don Jose
and Remondado. Alfred in Die Fledermaus for Carl Rosa.
ECO Opera company the roles of, Alfredo in La Traviata
and the Duke in Rigoletto. The roles of Count Almaviva,
Alfredo, Turridu, Cavaradossi and Rodolfo for Magdala
and the RPO. The roles of Rodolfo, Alfredo and Pinkerton
for Opera Interludes. All of these roles in the original
language.
He also did an extensive tour of the USA for Columbia
Artists as Camille de Rosillon in the Merry Widow.
2002
His concert platform work is extensive and has taken
him to sixteen countries in Europe to date. Singing
with the RPO, City of London Sinfonia and the orchestra
of Opera North as a principle soloist.
He also sang in an Opera Gala in the Nottingham Theatre
Royal with Willard White and the Royal Philharmonic
Orchestra.
Oratorios have included The Messiah, Judas Maccabeus,
Elijah, Rossini's Petite Messe, Verdi's Requiem, Mozart's
C minor mass and Requiem.
'Neil Allen's sweet tenor voice was perfect
for Don Jose's music in the earlier acts…with the
heft for the third and fourth act finales…(his) murder
scene left the Hackney Empire breathless.'
Rodney Milnes, The Times
|
|
