Clare Presland, mezzo soprano

Who or what inspired you to pursue a career in music and who or what have been the most important influences on your musical life and career?

At the age of fourteen, I quite fancied the idea of becoming an actress! I thought it would be useful to be able to sing as well, so I asked my parents for singing lessons as a Christmas present. That’s how I began lessons with Birgitta Kenyon, who ran the Voice Squad in my hometown of Bury St Edmunds.

I remember a very distinct moment in my teens when I first discovered the world of opera. It suddenly clicked: “Hang on, if I become an opera singer, I can sing AND act all at once!” That combination sounded rather perfect to me—and from that point on, I was hooked.

In terms of influences, I’ve been inspired by a range of mentors, coaches, and performers I’ve met along the way—each has shaped my approach to music and performance in unique ways and I’m so grateful.

What have been the greatest challenges of your career so far?

I think one of the biggest challenges has been allowing casting directors to really get the measure of me. I’ve always been quite versatile—both vocally and theatrically—which is something I genuinely love, but when you’re starting out, that kind of flexibility can sometimes confuse people.

It’s easy to get put in a box early in your career, and if you don’t fit neatly into one category, it can take longer for others to understand where you belong—or to realise that your range is actually your strength.

Over time, I’ve learned to embrace that versatility as a key part of my artistic identity. It’s still a continual process, but I’m beginning to feel more confident in that space.

Which performances/recordings are you most proud of?

One of the performances I’m most proud of was being part of the world premiere of Festen by Mark-Anthony Turnage at the Royal Ballet and Opera. It was one of those rare and special contracts that will stay with us all forever. The cast and creative team were some of the most glorious human beings you could wish to work with, and the connection we developed—especially given the emotionally challenging content—was incredibly strong.

Artistically, the level of commitment and creativity in the room was extraordinary. I don’t think I’ve ever felt more supported in my career, which made a huge difference in terms of confidence and pushing through that ever-present imposter syndrome.

The show ended up selling out for its entire run, with standing ovations each night—and to see the composer and librettist standing with us on stage during the curtain calls was incredibly moving. It was one of those rare experiences where everything aligned, and I feel immensely proud and grateful to have been a part of it.

Which particular works/composers do you think you perform best?

Funnily enough—Benjamin Britten! He’s the composer I’ve performed the most so far, and there’s something about his music that just feels like home to me. I love the emotional depth, the text-driven phrasing, and the way he writes for the voice.

So I’m especially excited to now be adding the role of Lucretia to my repertoire. It’s a challenging and incredibly rewarding role, and it feels like a natural next step in my journey with Britten’s music.

Do you have a favourite concert venue to perform in and why?

I was lucky enough to have a lot of opportunities with English National Opera at the beginning of my career, and they gave me such invaluable experience. Because of that, the London Coliseum will always hold a special place in my heart. There’s something familiar about that stage every time I step back into that building, it brings back a wave of memories and a real sense of gratitude.

What do you do off stage that provides inspiration on stage?

I have two glorious children who continue to inspire me everyday.

What is your most memorable concert experience?

Concert-wise—as opposed to operatic—it would have to be Beethoven: 1808 Reconstructed at the Royal Festival Hall in 2020. It was conducted by Esa-Pekka Salonen, with Stephen Fry performing readings between the pieces.

We were right in the throes of the pandemic, and, as it turned out, this was the final concert before the country went into lockdown. At one point, Stephen came off script and said something along the lines of, “This may be the last moment we’re all joined together for some time.” And how true that turned out to be.

There was this incredibly moving sense of shared presence in the room—none of us knew what was coming, but we all felt the weight of that moment. It was unforgettable.

As a musician, what is your definition of success?

I don’t mean for this to sound cheesy, but for me, success is about being happy, having fun, and feeling stimulated—both on and off the stage. Artistic fulfillment is a huge part of it, of course, but so is enjoying the people you work with, sharing a good dose of banter, and finding joy in the everyday moments.

And on a very practical note—being able to pay your bills! If you can do the work you love, feel creatively nourished, and still cover your rent or mortgage… I think that’s a pretty great definition of success.

What do you feel needs to be done to grow classical music’s audiences?

I really believe it starts at the grassroots level—with more exposure to classical music in schools. If children are introduced to it early, in a fun and engaging way, it becomes something familiar rather than something ‘other’.

It doesn’t have to be formal or intimidating—just giving young people the chance to hear live music, explore instruments, or even meet musicians can make a huge difference. It plants a seed. The more accessible and inclusive we make classical music from the start, the more likely we are to build lasting, diverse audiences for the future.

What’s the one thing in the music industry we’re not talking about which you think we should be?

In opera, I think we need to talk much more openly about career sustainability. There’s still this unspoken expectation that artists should constantly sacrifice their time, income, and well-being for the sake of the art form—but that’s just not sustainable.

We need to address how we support freelance singers—financially, emotionally, and professionally. That includes fairer pay, better working conditions, realistic rehearsal schedules. Passion is essential, of course, but it can’t be the only fuel we rely on.

What advice would you give to young or aspiring musicians?

Trust your instincts—they’re often more reliable than you think. Everyone’s journey is different, so stay true to what excites and motivates you, rather than trying to fit into a mould.

And embrace versatility. The more open you are to different styles, projects, and experiences, the more opportunities will come your way. Being adaptable doesn’t mean losing your identity—it means expanding it.

Most importantly, enjoy the ride.

Clare Presland sings the role of Lucretia in English Touring Opera’s new production of Britten’s The Rape of Lucretia, which opens at London’s Hackney Empire on 4 October before touring across the country.

englishtouringopera.org.uk