BIOGRAPHY

I really don't think I will ever hear Erbarme dich more beautifully sung.

A mesmerising portrayal of grief, her tone dignified, her aural imagery – whether of a serpent or of sighing and weeping – immediate and deeply affecting.

Mezzo soprano Charlotte Tetley described the Good Shepherd’s feeding of his flock with touching affection, as well as rousing the teller of good tidings to Zion with vivacity.

Charlotte Tetley’s Sorceress was quite mesmerising, her stage presence splendidly allied to vocal resources.

She transformed the mood seamlessly from the melting grace and uncertain questioning... to the terrifying vision of the appearance of the Messiah at the day of His coming. Here, the refiner’s fire set the church metaphorically alight as Tetley’s eyes flashed, her vocal dexterity reflecting awe at the prospect.

Siete Canciones Populaires from Manuel De Falla, which were delivered with a fine sense of the songs’ emotional depth. She created the impression that there was a dancer inside her yearning to get out

A mesmerising portrayal of grief, her tone dignified, her aural imagery – whether of a serpent or of sighing and weeping – immediate and deeply affecting.

Mezzo soprano Charlotte Tetley described the Good Shepherd’s feeding of his flock with touching affection, as well as rousing the teller of good tidings to Zion with vivacity.

Charlotte Tetley’s Sorceress was quite mesmerising, her stage presence splendidly allied to vocal resources.

I really don't think I will ever hear Erbarme dich more beautifully sung.

Charlotte studied Music and Education at Homerton College, Cambridge where she sang with Trinity College Choir. After graduating she became a primary school teacher in London for 2 years. She then studied vocal studies at the Royal Academy of Music, London followed by Opera Studies at the Royal Scottish Academy of Music and Drama, Glasgow. After graduating Charlotte went to Glyndebourne for the next two years as a member of the chorus in both the Festival and Touring Opera. She covered the role of Valletto in L’incoronatione di Poppea for the 2010 tour. Charlotte sang the role of Olga in Tchaikovsky’s Eugene Onegin at the Ryedale Festival in July 2012 but has predominantly been performing recital and oratorio repertoire since.

Charlotte is a keen lieder singer and recitalist and has worked closely with pianists such as James Baillieu, Malcolm Martineau and Christopher Glynn. As a recitalist she has performed as part of the ‘Leeds Lieder’ festival, Dorchester and Holt Festivals and sung Elgar’s Sea Pictures with Oxford Studio Orchestra. Charlotte works extensively with the Orchestra of St. John’s conducted by John Lubbock. She has sung the St. John Passion, St. Matthew Passion, Resighi’s Il Tramonto, Handel’s Messiah and the role of the Sorceress in Purcell’s Dido and Aeneas in St. John’s Smith’s Square and Dorchester Abbey.

Charlotte has enjoyed collaborating with OSJ’s associate conductor Cayenna Ponchione on two on-going projects Water-Culture: Women’s Work(s): Commissioning Music for the Environment and Humanity and Displaced Voices, a commissioning project to set the words of refugees. Charlotte sings as the mezzo soloist for choral societies up and down the country. Recent performances include Verdi’s Requiem, Petite Messe Sollonnelle by Rossini and Mozart’s Requiem. She lives in Hampshire with her four children and is taught by Christine Cairns.