Stage-Write blog

Thomasin Trezise of the Glyndebourne chorus is our intrepid backstage blogger.

The Cunning Little Vixen Hens, Festival 2012. Photo by Bill Cooper
Thomasin as a Hen (centre) in The Cunning Little Vixen at Festival 2012

About Thomasin

Thomasin Trezise was born in Brighton and studied at the Royal College of Music. Thomasin’s singing career has been more maverick than some, including Music Theatre, piano vocalist at Mayfair’s Tiddy Dols Restaurant and vocals on Lord of the RingsStar Wars and the Harry Potter films.

Operatic roles include Second Nymph (Rusalka) and Mrs Herring (Albert Herring) for Glyndebourne; Angelina (La Cenerentola) and Mimi (La bohème) for Garden Opera; Orlofsky (Die Fledermaus) for Ludo Productions at the Brighton Festival; Valencienne (The Merry Widow) and Despina (Così fan tutte) for Opera UK and Olga (Eugene Onegin) and Dorabella (Così fan tutte) for Music Theatre London. 

She started singing at Glyndebourne in 2003.

Festival 2014

Week 1 2014 Festival

Hello and a very happy 2014 to one and all.

We have just come to end of the first week of rehearsals for the 2014 Festival. As usual I am feeling rather shell-shocked. This week we focused on the music for Graham Vick’s magical production of Eugene Onegin. Deceptively simple music and blatantly difficult Russian. We had a language coach with us from day one, and how we needed him! We spent a good half of the rehearsal just chanting the words in rhythm, as there was no chance of getting words and notes right at the same time.  At times it seemed to me, that we must have sounded like the living dead coming in from the fields with pitch forks and the like. At one point, after the first song of the peasants, Madame Larina asks them to sing something cheerful. She may well ask. Cheerful is out of the question until we’ve got the Russian under our belt. By Friday, I really started to feel much more with it all. There is, however, one vowel sound that is very elusive. In the Cyrillic alphabet it looks like an H but sort of filled in the corner, phonetically, it is written like an ‘I’ with two dots over it. When the Russians say it, it sounds as if it goes backwards into their mouths. We were encouraged to practise until it felt easier and soon it was like milking time, with that same degree of panic. We ARE getting there though, I just know it.

My understudy this year, is Madame Larina, the mother of Tatyana and Olga and played by the inimitable Diana Montegue. As usual, I wish no harm to come to her at all.

Next week we have the model showing for Richard Jones’ new production of Der Rosenkavalier. Very excited.

See ya.




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