London based Soprano Carleen Ebbs was a finalist in the London Handel Singing Competition and Thelma King Award for Singers, a Britten-Pears Young Artist, has appeared in the London Handel Festival, with The New Zealand Symphony Orchestra, on BBC Radio 3’ In Tune, and is grateful for generous support of her training from the Dame Malvina Major Foundation. She trained at Victoria University of Wellington, The Guildhall School of Music & Drama London gaining a Masters with Distinction, and The Cardiff International Academy of Voice.

Recent roles:

  • ADELE Die Fledermaus J. Strauss / Welsh National Opera; Celebrate Voice; Opera de Bauge

  • ZERLINA Don Giovanni Mozart / Celebrate Voice c. Phillip Thomas d. Richard Studer

  • ALYEYA (cover) From the House of the Dead / Welsh National Opera

  • KATHARINA CAVALIERE Amadeus / The National Theatre d. Michael Longhurst

  • GILDA Rigoletto Verdi / Opera de Bauge c. Philip Hesketh

  • SUSANNA Le Nozze di Figaro Mozart / Festival Opera New Zealand c. Jose Aparicio

  • LUCIA Lucia di Lammermoor Donizetti / Opera de Bauge c. John Andrews

  • FRASQUITA Carmen Bizet / Festival Opera New Zealand c. Jose Aparicio

  • MASHA (cover) The Queen of Spades / English National Opera d. David Alden

  • JUNGE MÄDCHEN (cover) Moses und Aron Schonberg / Welsh National Opera

  • 1ST BOY Die Zauberflöte Mozart / Longborough Festival Opera d. Jenny Miller c. G. Marciano

  • BELINDA Dido and Aeneas Purcell / Opera in Space

  • MORGANA Alcina Handel / Grimeborn Festival London

  • CALLISTO Callisto Cavalli / Days Bay New Zealand

  • POPPEA L’incoronazione di Poppea Monteverdi / Opera de Bauge

Carleen has made numerous appearances as a concert and oratorio soloist across the UK and New Zealand. Repertoire includes Brahms Requiem; Mozart Requiem, Coronation Mass, 1st and 2nd Soprano roles in Mass in C Minor; Handel Gloria, Messiah, Dixit Dominus; Faure Requiem; Haydn’s Creation, Nelson Mass; Jenkins Requiem; Carl Orff Carmina Burana; Schubert Mass in G; Vivaldi Gloria, and Mendelssohn Lauda Sion and Elijah.  She has also performed at the request of the New Zealand High Commission and Embassy in Belgium to perform for numerous WW1 Commemoration Services in Flanders and France.



Zerlina Don Giovanni Celebrate Voice UK:

“Amy Blake’s violated Donna Anna and Bonaventura Bottone’s ever patient fiance, Don Ottavio,  are elegantly contrasted with the rustic passion of Zerlina (a performance crammed with sexual promise by Carleen Ebbs) and her clumsy betroth­ed,  Masetto, to whom Nick Dwyer brings besotted jealousy.”

- The Fine Times Recorder

Susanna Le Nozze di Figaro Festival Opera New Zealand:

“Chief honours went to Carleen Ebbs’s Susanna, with a voice and histrionic talent that seemed designed for the role...hers was the kind of performance that automatically brought a smile to the face.”

- Lindis Taylor, Middle C

Adele Die Fledermaus Welsh National Opera, Wales Millennium Centre 2017:

“Adele is the maid, played with great charm and wit by Carleen Ebbs, who’s rendition of the Laughing Aria was a real highpoint in the operetta”.


Callisto, Callisto, New Zealand:

“Carleen Ebbs as Calisto made a richly sonorous impression, producing tones that illuminated the words’ intention…Ebbs is a voice to listen out for.”

- Peter Mechan, Middle C

Lucia Lucia di Lammermoor Bauge, France 2017:

"These young artists names should be kept in mind because they are likely to be heard again soon. (…) But of course, in Lucia, one expects The Lucia: it is a young New-Zealander, Carleen Ebbs who was chosen for this dangerous role. (…) her last act is amazing: distressed in her white nighty stained with blood and with the bloody dagger still in hand, she walks into a petrified assembly.  She bumps into the guests whom she doesn’t see anymore because she has already left the human world. Her singing opens out with as much dexterity in her breathing than sincerity in the expression of the madness that invades her. In “Il dolce suono” she offers some kind of a hallucinated daydream, whilst in “Ardon gl’incensi” she dives in this world where she is burying herself. “Spargi amor” leads her to this high B that sees both her vision culminate and her senses collapse. From one end to the other of this fabulous scene, Carleen Ebbs knows perfectly how to dose her skills, offering the harrowing portrait of this Lucia (…) This Lucia, as you will have understood, is a must see.”

 - Alain Duault, Opera Online