Toronto-born soprano Emily Brown Gibson is quickly establishing herself as a versatile performer specialising in baroque and contemporary repertoire.

            A recent graduate of the Royal Northern College of Music, Emily completed an MMus in Vocal Studies and Opera with distinction, while studying with soprano Mary Plazas. Her studies were generously supported by The Dasha Shenkman Award from the Canadian Centennial Scholarship Fund, the Dobie Award from The William and Frances Dobie Charitable Foundation, and a Leverhulme Trust scholarship. Prior to RNCM, Emily completed an Mst in Music from the University of Oxford (distinction), as well as a Bmus in Classical voice performance from McGill University (Honours).

          Emily has a keen interest in contemporary music, with particular interest in working with composers on new works. This past summer, Emily premiered the role of Daughter in Kerrin Tatmen’s, Requiem for a Fading World at Sage Gateshead. Last year, Emily made her Wigmore Hall debut when she worked with composer Anna Þorvaldsdóttir on her pieces Hvolf and Rain. Emily has performed as the soprano vocalist in both Michael Gordon’s Van Gogh and in the world student premier of Steve Reich’s The Cave with Orchestra VOX. She also performed two roles (Lysistrata and The Right Side) in the premier of Creative Juices’ two newly commissioned pieces on the topic of protest with Sir David Pountney, Emma Jenkins, and Caroline Clegg. This autumn, Emily will be joining Orchestra VOX once more in their performance of Ophelia in Her Own Words where she will be singing Hans Abrahamsen's Let me tell you for soprano and orchestra. 

          Emily also has a passion for performing early opera and recently joined New Chamber Opera for their summer production of Paisiello's La Frascatana as Violonte. This past spring, Emily played the role of Venus in John Weldon’s The Judgment of Paris with Benslow Music. Other opera credits include: Bellina in Cimarosa’s Le Astuzie Femminili (2022), Barbarina in Mozart's Le Nozze di Figaro (2022), Elisetta in Cimarosa’s The Secret Marriage (2019), Romilda in Handel’s Xerxes (2019), Grilletta in Haydn’s The Apothecary (2018), and Galatea in Handel’s Acis and Galatea (2017).

          Not only a keen soloist, Emily also regularly performs in small mixed vocal ensembles; she regularly sings with Kantos Chamber Choir, has begun working with Mogens Dahl KammerKor, and has recently been accepted into the VOCES8 Scholar programme.