Australian soprano Eleanor Lyons is celebrated for her versatility, deep musicality, and fresh interpretations across opera, orchestral concerts, chamber music and solo recitals. Her artistry has led to ongoing collaborations with leading conductors and orchestras worldwide.

Recent highlights include her acclaimed house debut at Dresden’s Semperoper as Leonore in Beethoven’s Fidelio in Christine Mielitz’s historic production, followed by performances of the same role with the Orquesta y Coro Nacionales de España under David Afkham. She also toured Europe with Philippe Herreweghe and the Orchestre des Champs-Élysées as soloist in Beethoven’s Ninth Symphony.

In Australia, Eleanor has appeared with the Queensland Symphony in Strauss’ Four Last Songs and Beethoven’s Ninth under Umberto Clerici, made her Sydney Symphony debut as Freia in Wagner’s Das Rheingold with Simone Young, and sang Verdi’s Requiem at the Adelaide Festival with the Antwerp Symphony. Internationally, she debuted with the MDR Symphony in Vaughan Williams’ Sea Symphony under Dennis Russell Davies, appeared at the Vienna Musikverein in Bruckner’s Psalm 150 with the Vienna Symphony under Petr Popelka, and performed Beethoven’s Missa Solemnis at the Festival Les Chorégies d’Orange with John Nelson.

The 2024–25 season brings her debut with the Deutsche Radio Philharmonie in Britten’s Les Illuminations and Mozart concert arias, and her first appearance at Turin’s Teatro Regio in Mahler’s Second Symphony with Aziz Shokhakimov. She returns to the Queensland Symphony for Verdi’s Requiem, and continues her collaboration with Philippe Herreweghe in a European tour of Beethoven’s Ninth. Further debuts include Dvořák’s Stabat Mater with the Rundfunk-Sinfonieorchester Berlin, Poulenc’s Stabat Mater with the City of Birmingham Symphony (Kazuki Yamada), Mahler’s Second Symphony with the Melbourne Symphony (Jaime Martin), and Rossini’s Stabat Mater with the Tasmanian Symphony (Valentina Peleggi) .

Eleanor studied at the Royal Northern College of Music and the Mariinsky Academy, and won first prize at the International Obraztsova Singing Competition.

Dynamic Australian mezzo-soprano Sian Sharp has been described as “one of Opera Australia’s most versatile and accomplished singers” (Australian Arts Review) .

In 2023 she returned to Opera Australia in signature roles including Suzuki (Madama Butterfly), Giovanna and Maddalena (Rigoletto), and appeared as La Muse in Damiano Michieletto’s new production of The Tales of Hoffmann. She also sang in Sydney Philharmonia’s performance of Mahler’s Symphony No 8.

Her 2024 engagements include Dodo (Breaking the Waves), La Zelatrice (Suor Angelica), and Second Lady (The Magic Flute) with Opera Australia, while covering Idamante (Idomeneo) and Gertrude (Hamlet). On the concert stage she appears as Rossweisse (Die Walküre) with the Sydney Symphony, in Haydn’s Harmoniemesse with the Tasmanian Symphony, and in Mendelssohn’s Elijah with Sydney Philharmonia.

A long-standing member of Opera Australia, Sian’s repertoire spans more than 30 roles, including Carmen (Carmen), Amneris (Aida), Dorabella (Così fan tutte), Rosina (Il barbiere di Siviglia), Cherubino and Marcellina (Le nozze di Figaro), Olga (Eugene Onegin), Federica (Luisa Miller), Arsace (Partenope), Hansel (Hansel and Gretel), Suzuki (Madama Butterfly), and Waltraute and Siegrune in Der Ring des Nibelungen. She has also appeared in Il viaggio a Reims, Don Quichotte, Romeo and Juliet, Otello, Cavalleria rusticana, Il trovatore, La clemenza di Tito, Mefistofele, Rusalka and Salome.

In concert, Sian has performed with the Sydney Symphony in Mendelssohn’s A Midsummer Night’s Dream and as Mary in Wagner’s The Flying Dutchman with the Melbourne Symphony. She has also sung Handel’s Messiah with the Queensland Symphony and appeared frequently with Sydney Philharmonia in works including Bach’s St John Passion, Mendelssohn’s Elijah, and Elgar’s The Dream of Gerontius.

Born in Sassari in 1989, Italian tenor Matteo Desole began his vocal studies in 2013 with Raina Kabaivanska in Modena. He first appeared as soloist in Schnittke’s Requiem (2007) and Schubert’s Mass in B-flat (2011), and has sung widely in concert, drama, and opera, including Leopold in La parrucca di Mozart and roles with Cooperativa Teatro e/o Musica di Sassari. In 2012 he won a scholarship at the International Lyric Competition “G. Martinelli – A. Pertile” and has collaborated frequently with the Luciano Pavarotti Foundation.

Desole made his operatic debut as Malcolm in Macbeth at Teatro Comunale Bologna under Roberto Abbado in a production by Bob Wilson. Rapidly establishing himself in leading roles, he has since sung the Duke in Rigoletto (As.Li.Co), Edgardo in Lucia di Lammermoor (Savona, Cagliari), Alfredo in La traviata (Rome Opera in Sofia Coppola’s production, Tiroler Festspiele Erl, Holland Park, Tokyo, Venice, Florence), Tamino in Die Zauberflöte, Rodolfo in La bohème (Erl, Klagenfurt, Savona, Prague, Bari, Copenhagen), Ruggero in La rondine (Florence), and Rinuccio in Gianni Schicchi (Modena, Ferrara, Reggio, Piacenza).

He has appeared at major houses including La Scala, where he debuted in Francesca da Rimini under Fabio Luisi and later performed in I masnadieri (Milan and Savonlinna Festival). Other engagements include Simon Boccanegra (Genoa), Donizetti’s Requiem (Modena), Ernani (Vilnius, Rome), Tosca (Savona, Prague), and Un ballo in maschera (Cluj, Klagenfurt).

Praised for his lyrical tone and dramatic presence, Desole continues to expand his repertoire across Italy and internationally, performing regularly with leading conductors and directors.

Winner of the Australian International Opera Award and Dame Heather Begg Memorial Award, Melbourne-born bass-baritone Jeremy Kleeman is a graduate of London’s Royal College of Music and a former Sambrook Scholar with Melba Opera Trust.

In 2025 he makes role debuts as Schaunard (La bohème) with Opera Queensland and Abimelech (Samson and Delilah) with Melbourne Opera, creates the role of Captain Gibb in Cassomenos and Gething’s new opera Eva for the Port Fairy Spring Music Festival, and appears as bass soloist in Rossini’s Stabat Mater with the Tasmanian and New Zealand Symphony Orchestras. Other concert engagements this year include Purcell’s Ode on St Cecilia’s Day at the Woodend Winter Arts Festival and Bach’s St John Passion with the Melbourne Bach Choir.

Last year Jeremy created the title role in Jack Symonds’ Gilgamesh for Opera Australia and Sydney Chamber Opera, praised for his “rich, effortlessly noble bass-baritone” (The Saturday Paper). A champion of new Australian opera, he has also originated roles in George Palmer’s Cloudstreet, Elliot Gyger’s Oscar and Lucinda, Calvin Bowman’s The Magic Pudding, and Curtis and Gow’s Voyage to the Moon.

Other recent highlights include Guglielmo (Così fan tutte) with Opera Queensland, Figaro (Le nozze di Figaro) with Opera Queensland, West Australian Opera, State Opera South Australia and Opera Australia’s National Tour, and Captain Corcoran (HMS Pinafore) with State Opera South Australia.

On the concert stage, Jeremy has sung Handel’s Messiah with the Tasmanian and Melbourne Symphony Orchestras, Nielsen’s Symphony No 3 and Rossini’s Petite messe solennelle with the MSO, and gala performances with the Queensland and Canberra Symphony Orchestras. Internationally, he has performed in Elgar’s The Apostles with the London Philharmonic Choir and Orchestra, with the London Handel Players at the Tilford Bach Festival, as Traveller in Britten’s Curlew River in Moscow, and in recital at Norway’s Northern Lights Festival.