When and where was your first experience of music / singing?

I was lucky to grow up in a musical family so music was always playing in the house or on the radio. It wasn’t until a really engaging singing workshop was held at my secondary school that I asked for lessons aged about twelve, though I still think singing as Innkeeper No.3’s wife aged five in the school Nativity was the big break the world was waiting for.

When I was younger, I used to sit by the piano and work out songs I liked by ear – one of my earliest musical memories is being about eight years old, working out ‘Yours is No Disgrace’ by Yes on the keyboard (thanks, Dad!). My mum is a brilliant pianist so I was also motivated to play like her.

Where did you grow up? Did you have access to classical music?

I grew up south of London playing cello and piano, and then singing in school choirs as a teenager. I was very active musically at school – it wouldn’t be unusual for me to spend 4 out of 5 lunchtimes at the piano running a choir. I did this from when I was thirteen and yet, when my music teacher suggested I could be a conductor, I didn’t think anything of it; it didn’t occur to me it was a career I could have. I also used to have gigs as a teenager playing piano in bars or at corporate functions, it was fun to be working as a musician. I felt very grown up.

I really only ever engaged with classical music through lessons and school ensembles but that was the limit of my knowledge. It wasn’t until I went to university to do a music degree did I realise the breadth of classical music available, so there was a lot of catching up to do! From there I fell in love with choral music. I’m glad I had a slightly more gradual and circuitous route into my choral education and conducting because I’m still discovering fantastic music; the novelty’s not yet worn off!

What has been your most memorable performance so far?

Singing the end of Mahler’s 2nd Symphony with the CBSO Chorus and Orchestra. It was post-Lockdown and my first ‘real’ concert back. I’ve never been moved musically like that before and I cried! The ending of the piece sounds like the world is melting and simultaneously rebuilding itself.

As a conductor, I conducted a premiere of a commission written for 300 voices at Symphony Hall in collaboration with Black Voices and Community Spirit a few years ago. It was a very powerful feeling to conduct on a stage I’d sung on only a few years previously as a student.

What would your dream performance be?

Conducting the end Mahler’s 2nd Symphony! Or conducting Belshazzar’s Feast by William Walton. Is there a more debauched and exciting piece?

What are you looking forward to with Genesis Sixteen?

Everything! I am so looking forward to working with Harry and Eamonn to learn from their expertise and conduct some exciting repertoire. I’m looking forward to getting to know and work alongside the singers in my cohort too.

Outside of singing, what do you like to do in your spare time?

I like reading, writing, and knitting – one day I’ll make something that’s not a scarf.

Are you in any other young artists schemes?

I’m just finishing a fantastic year with Covent Garden Chorus as their Associate Conductor and I’m also coming to the end of my time as a bursary student with Forge Conducting. In the future, I would love to go back into education and pursue a Masters in Choral Conducting.

Outside of performances with Genesis Sixteen, have you got any concerts coming up?

I am very lucky to be going on tour with Covent Garden Chorus this summer to Croatia, and to have my first summer concert with my new chamber choir in July.

Any fun facts about you that you’d like to share?

Exactly five years to the day of attending my first ever conducting course, I found out I was selected to be the next Genesis Sixteen Conducting Scholar!