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Becca Marriott began singing aged 13. She has always had a passion for performance and was desperate to be an actress. She studied Classical Acting at the Junior Guildhall for four years before deciding to read English at Oxford.

During her time at university she sang in numerous concerts, directed and acted in various productions, and became the first female director of the University's prestigious Improvised Comedy Troupe; a breeding ground for several up and coming stand ups and comic actors some of whom may well grace your televisions soon. She also created and directed an improvised musical. There was just time to squeeze in a high 2:1 in English Literature.

After returning to London Becca kept improvising and set up her own successful London based improvised musical troupe, which she directed for a year and a half. She also rediscovered her passion for classical singing and began studying for her vocal diploma under Yvette Bonner and Elizabeth Ritchie. She was awarded a distinction for her effort, and subsequently won a place on the Master's Programme at Trinity Laban Conservatoire of Music and Dance.

Here she held the Morag Noble Scholarship and won the Roy Pleasance Prize for Solo Voice and Orchestra, as well as securing leading roles in the annual college operas in both of her years of study. She also partook in a mentor scheme with The English National Opera and with renowned bass, Matthew Rose.

Just as she was about to start her MMus she was offered the opportunity to sing Tosca for OperaUpClose at The King's Head Theatre, which subsequently transferred to the West End.

Between 2011 and 2014 she sung; Tosca, Tosca,  Amelia, Un Ballo in Maschera, Dido, Dido & Aeneas, Serpina, La Serva Padrona, Donna Anna, Don Giovanni, Public Opinion, Orpheus in the Underworld, Renata,Огненный ангел (The Fiery Angel), La Contessa, Le Nozze di Figaro,and Nitocris, Belshazzar (staged).

She is also no novice on either concert or oratorio platforms and has performed as the soloist in Verdi's Requiem, Haydn's Missa Cellensis and Finizi's In Terra Pax, (among others), as well as giving regular recitals in London and the South East.

Becca also enjoys performing new works and created the role of Gala Dali in Ergo Phizmiz's Gala for Tête àTête and the Puppet Centre and the roles of Werburh and Matilda for Cantata Drammatica's Cantata Eliensis.

Becca has worked with extraordinary directors and musical directors including Nicholas Kraemar, Bill Bankes Jones, Emma Rivlin and Gerry Cornelius.

Head Shot — Clive Moore 2011