"Rebecca de Pont Davies almost steals the show with her electrifyingly sinister Auntie"
Rupert Christianson, Daily Telegraph, May 2009
With her powerful voice and charismatic stage presence, Rebecca de Pont Davies has established herself as one of the leading singer-actors of her generation.
Highlights this season include Aunt Kaye in Mark Anthony Turnage's Anna Nicole at Royal Opera House, Covent Garden, The Marchioness in Donizetti’s La Fille du Regiment at the Teatro Real in Madrid, and Ruth in a new production of Pirates of Penzance for English National Opera.
Recent engagements include Mrs Sedley Peter Grimes for Opera North, Auntie in David Alden's award-winning revival of Peter Grimes at English National Opera, a return to the Théâtre du Châtelet, Paris for Jack’s Mother in Sondheim’s Into the Woods, Auntie Peter Grimes for Grange Park Opera, Mother Wagner Dream for Welsh National Opera, Old Lady/Elaine in a new production of Sunday in the Park with George for Theatre du Chatelet, Paris, Auntie Peter Grimes for Deutsche Oper Berlin and Geneviève Pelléas et Mélisande at the Aalto Musiktheater in Essen, conducted by Stefan Soltesz.
Previous international performances also include Klytemnestra opposite Susan Bullock for Opera North, Mrs Sedley in a new production of Peter Grimes for Deutsche Oper am Rhein Dusseldor, her first Herodias, Die Hexe for Theater Bielefeld, Beggar Woman Sweeney Todd, in a new production for Théâtre du Châtelet Paris, Mrs Sedley Peter Grimes at the Liceu Bercelona and in Valencia, Zweite Magd Elektra, and Mother in Jonathan Harvey's Wagner Dream for De Nederlandse Opera in Amsterdam. An enthusiastic exponent of contemporary music, Rebecca has appeared with Lontano and the Endymion Ensemble in works such as Henze's El re del Harlem, Berio's Folksongs, Judith Weir's Consolations of Scholarship and with the London Sinfonietta she sang Wife/Doreen/Waitress 1/Sphynx 2 in Mark Anthony Turnage's Greek as part of the BBC's Momentum series at the Barbican.
On the concert platform, de Pont Davies’ appearances have included performances in a wide variety of works with many of Britain's leading orchestras including the BBC Symphony Orchestra, the London Sinfonietta, the London Philharmonic Orchestra, the Philharmonia and the English Chamber Orchestra.
De Pont Davies was born in London and studied at the Guildhall School of Music and Drama. She made her debut at Glyndebourne in Death in Venice and made her ENO debut as Emilia in Verdi's Otello before becoming a company artist. Her many roles during this time include Ulrica Un Ballo in Maschera, Mistress Quickly Falstaff, Mrs Sedley Peter Grimes, Ottavia Poppea, Genevieve Pelléas et Mélisande, Theatre Dresser/Schoolboy/Groom Lulu, Albine Thais, Annina Der Rosenkavalier, Flosshilde Das Rheingold, Siegrune Die Walkure, Page Salome (also recorded for Chandos), Mother Goose The Rake’s Progress and 3rd Secretary Nixon in China.
Rebecca de Pont Davies is represented by Intermusica worldwide.
September 2014 / 430 words. Not to be altered without permission. Please destroy all previous biographical material.
Mrs Sedley Peter Grimes / Grange Park Opera
Cond. Stephen Barlow / dir. Jeremy Sams
“Rebecca de Pont Davies (last seen as Auntie in ENO’s Grimes) undergoes a transformation here to re-emerge as a crazed Mrs Sedley, relishing her “Murder most foul” with disturbing glee.”
Alexandra Coghlan, The Arts Desk, May 2014
Jack’s Mother Into the Woods / Chatelet
Cond. David Charles Abell / dir. Lee Blakeley
“A special mention, finally, to Rebecca de Pont Davies, who decidedly, and with a physique which fleetingly evokes Tilda Swinton, knows how to do everything, starting with the cantankerous role of Jack’s Mother.”
"Mention spéciale, enfin, pour Rebecca de Pont Davies, qui décidément, et d’un physique qui évoque fugacement Tilda Swinton, sait tout faire, à commencer par émouvoir dans le rôle pourtant revêche de la Mère de Jack."
AltaMusica.com, April 2014
Auntie Peter Grimes / English National Opera
Cond. Edward Gardner / dir. David Alden
“The luxury casting of Rebecca de Pont Davies as Auntie…”
Sam Smith, Londonist, February 2014
“Rebecca de Pont Davies lorded over her scenes as a gloriously strange Auntie.”
Hugo Shirley, January 2014
“Rebecca de Pont Davies’ [is a] dusky-voiced Auntie, landlady of “The Boar”, presiding over her pub (and the storm it seems – which she rides from her armchair) like a male impersonator of ambiguous sexual preference.”
Edward Seckerson, January 2014
“Rebecca de Pont Davis's androgynous Auntie [was] particularly outstanding.”
Tim Ashley, Guardian, January 2014
“In Rebecca de Pont Davies’ magnetic, beady performance, she’s one part pub landlady, one part brothel-keeper. Striding about in full-length fur, she dominates the stage and the town and acts as a way in for the audience.”
David Benedict, The Arts Desk, January 2014
Corp / String, Paper, Wood [CD: Stone Records]
“Rebecca de Pont Davies is in full command of the composer’s rather wide-ranging melodic lines, being naturally richer in her middle and upper registers.”
Robert Matthew Walker, International Record Review, July/August 2013
Mother in Harvey Wagner Dream / WNO
Dir. Pierre Audi
“Rebecca De Pont Davies was a warmly consoling Mother…”
Richard Whitehouse, Classical Source, June 2013
Old Lady / Elaine in Sondheim Sunday in the Park with George / Théâtre du Châtelet
cond. David Charles Abell / dir. Lee Blakeley
“…Rebecca de Pont Davies, as his mother, gives her song the grand Handelian contralto treatment.”
Francis Carlin, Financial Times, April 2013
“Special mention for Rebecca de Pont-Davies, still a fine musician and strong actress.”
Jean-Charles Hoffelé, Concert Classic
, April 2013
“…the beautiful timbre of the singer who sings Seurat’s mother in the opera, Rebecca de Pont Davies…”
Raphaël de Gubernatis, Le Nouvel Observateur, April 2013
Auntie in Britten Peter Grimes / Deutsche Oper Berlin
cond. Donald Runnicles / dir. David Alden
"A skinny old lady with an Anita Berber haircut stalked onto the stage in a plaid three-piece suits and stole the show: It was Rebecca de Pont Davies as Auntie, the sleazy pub landlady."
Rosemarie Frühauf, The Epoch Times Deutschland, January 2013
“Auntie and landlady of The Boar, Rebecca de Pont Davies, lends her rich alto voice to the role.”
Thierry Bonal, Forum Opera
, January 2013
“[she] succeeded in painting an impressive portrait of the role… Rebecca de Pont Davies as the dandified Auntie.”
Kai Luehrs-Kaiser, welt.de, January 2013
Geneviève in Debussy Pelléas et Mélisande / Aalto Musiktheater in Essen
cond. Stefan Soltesz / dir. Nikolaus Lehnhoff
“Under Stefan Soltesz the musical standards [...] are high, with fine supporting sing[ing from] Rebecca de Pont Davies”.
Hugh Canning, The Sunday Times, November 2012
Auntie in Britten Peter Grimes
English National Opera / BBC Proms / cond. Edward Gardner
“Rebecca de Pont Davies’ Auntie was a woman clearly in control of her customers and her own destiny”.
Claire Seymour, Opera Today, September 2012
Grimes's persecutors, all of them superbly characterised, included... Rebecca de Pont Davies's androgynous brothel madam Auntie”
Tim Ashley, Guardian, August 2012
“The androgynously dressed Auntie (the landlady of the village pub), a role cooly sung by Rebecca de Pont Davies...”
Julia Savage, Bach Track, August 2012
“An exceptional cast... Rebecca de Pont Davies repeated her disturbing Auntie, as ever with tremendous panache...”
Melanie Eskenazi, Music OMH, August 2012
Auntie in Britten Peter Grimes / Opera Oviedo
cond. Corrado Rovaris / dir. David Alden
“Rebecca de Pont Davies interpreta el rol de Auntie con gran solvencia teatral”
“Rebecca de Pont Davies’ skilled acting made for a convincing Auntie.”
Elcomercio.es, January 2012
Beggar Woman in Sondheim Sweeney Todd / Théâtre du Chatelet, Paris
cond. David Charles Abell / dir. Lee Blakeley
“Rebecca de Pont Davies, looking suspiciously attractive as The Beggar Woman, sings with fearsome authority”
George Loomis, New York Times, May 2011
“Among the rest of the cast, David Curry and Rebecca de Pont Davies stand out. De Pont Davies as the Beggar Woman who is not what she seems almost sounds like Richard Strauss’s Queen Clytemnestra”
Bloomberg, May 2011
“Traversant la scene et l’histroire comme une ame en peine, tel un ange dechu, la mendiante de Rebecca de Pont Davies impressionne par sa belle voix de mezzo et son incarnation pleine de force et de desespoir.”
“Throughout the story, Beggar Woman’s presence on stage reminds one of a soul in torment, a fallen angel. The impressive Rebecca de Pont Davies lends her beautiful mezzo voice to the powerful portrayal of this despaired woman.”
Classique News, April 2011
Auntie in Britten Peter Grimes / Vlaamse Opera
cond. Edward Gardner / dir. David Alden
“Grande et mince comme un echelas, habillee en garconne et souffrant d’un pied-bot, Rebecca de Pont Davies compose une Auntie excentrique, auquel elle confere son timbre cuivre proche du contralto”
“This eccentric Auntie, tall and slender, dressed boyishly and with club feet, was compellingly sung with velvety, deep timbre by Rebecca de Pont Davies”.
Le Soir, June 2010
“Extraordinaira fue la Auntie de de Pont Davies en una actuacion vocal y escenica brillantes”
“Auntie was outstandingly interpreted with formidable vocal clarity and brilliant acting by de Pont Davies.”
Mundoclasico, July 2010
Auntie in Britten Peter Grimes / English National Opera
cond. Leif Segerstam / Yannis Pouspourikas / dir. David Alden
“...while Rebecca de Pont Davies almost steals the show with her electrifyingly sinister Auntie”
Rupert Christiansen, Daily Telegraph, May 2009
Klytemnestra in Strauss Elektra / Opera North
cond. Richard Farnes
“Bullock gets superb support from her excellent co-stars....Rebecca de Pont Davies’s crazed Klytemnestra”
Hugh Canning, Sunday Times, December 2008
“Rebecca de Pont Davies was Klytemnestra - a striking portrayal”
Michael Kennedy, Opera, December 2008
“The other soloists shone too...Rebecca de Pont Davies, in particular, bringing an impersontion of Klytemnestra which revealed her as the real mad woman of the scenario: a twitching, trembling bagful of fears and jealousies - and wonderfully sung.”
Robert Beale, City Life, February 2009
Micah in Handel Samson
cond. Harry Christophers / dir. Daniel Slater
“…but it is Rebecca de Pont Davies who shines at the centre of it all as an articulate, noble Micah”
Lynne Walker, Independent, July 2008