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INTRODUCTION
In this interview with Alice Lechner, British bass Jamie Woollard reflects on his artistic journey from the Royal College of Music Opera Studio to the Royal Opera House’s Jette Parker Artist Programme and beyond. Praised for his rich, sonorous voice and commanding stage presence, he discusses his development as a young artist, his experiences in major houses such as Glyndebourne and the Royal Opera House, and the variety of roles that have shaped his early career. He also shares insights into repertoire, performance practice, and the challenges and rewards of building an international operatic career today.
BIOGRAPHY
British bass Jamie Woollard is a recent alumnus of the Jette Parker Artist programme, praised for his ‘regal poise and charisma’ (The Spectator) and his ‘terrifically sonorous bass, as deeply coloured as mahogany’ (Opera Today). As a young artist at the Royal Opera House he performed roles included Zaretsky (Eugene Onegin), Zuniga (Carmen), Il Conte di Ceprano (Rigoletto), and Sciarrone (Tosca), and sung for Brindley Sherratt in the general rehearsal of Jephtha as Zebul. His cover roles on the programme included Timur (Turandot), King of Egypt (Aida), Colline (La bohème), and Angelotti (Tosca).
On graduation from the Royal College of Music Opera Studio in 2023 Jamie was named a BBC Music Magazine “Rising Star’ and joined the Jerwood Young Artist programme at Glyndebourne Opera Festival that same year. He made his debut there as Thierry in Barrie Kosky’s new production of Dialogues des Carmélites.
Jamie’s 2025/26 Season includes returns to the Royal Opera as Count Ceprano in Rigoletto and to Glyndebourne Festival as Snug in A Midsummer Night’s Dream. He also makes his debut at Opera North as Antonio and Bartolo (cover) in Le Nozze di Figaro, and the Grange Festival as Colline in La bohème and Gremin (cover) in Eugene Onegin, as well as Il Commendatore in Don Giovanni at Waterperry Opera. His future plans include Angelotti in Tosca alongside Bryn Terfel as Scarpia for the inaugural Season of Oxford International Opera and making his debut at Bayerische Staatsoper in Britten’s Death in Venice.
Jamie’s recent concert highlights include performing Handel’s Messiah with the City of Birmingham Symphony Orchestra, the premiere of Teresa Barlow’s Requiem with Bournemouth Symphony Orchestra, Haydn’s L'infedeltà delusa at Cadogan Hall with The Mozartists, the title role in Handel’s Saul with The Consort of Twelve, and works by Purcell and Stradella at Lerici Music Festival with Vache Baroque. At the Royal College of Music, Jamie performed roles including Sarastro (Die Zauberflöte), Jupiter (Orpheus in the Underworld), Immigration Officer (Flight) and Il Re (La bella dormente nel bosco).
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INTERVIEW
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Alice Lechner comes from a music-loving family. Her first encounter with the opera universe was at the tender age of six. The grandeur of the stage productions and costumes, the backstage chatter, and last, but definitely not least, the music left her in awe, beginning with Mozart’s Don Giovanni. The overall feeling that opera awakens in anyone who gets a glimpse into this part of artistic eternity, that each and every day passes the test of time, was what drew her to stay and be a part of this world. The Opera House of Brașov became her second home, and the people who worked there were her second family.
Since then, Alice has devoted her spare time to maximising her musical knowledge through instrumental studies, studying both piano and violin for a short time. In the following years, her number one passion stepped out of the limelight and graciously gave way to Law Studies.
Since 2018 she has been studying Law at “Alexandru Ioan Cuza” University in Iași.
Her passion for opera, even if it is no longer her top professional priority in terms of career, it has most definitely become her priority during her free time. Wanting to experience the best of both worlds and extend her musical horizons, she regularly attends opera performances throughout Romania and abroad.
With OPERA Charm Magazine, Alice aims to nurture her creative side to help it flourish and bloom and to discover, alongside the magazine’s readers, the fascinatingly complex world of opera.
Currently, she is an LL.M. in Business Law at “Alexandru Ioan Cuza” University in Iași.
Oana Zamfir is a second year MA student at the “George Enescu” National University of Arts, at the Department of Musicology.
She studied violin for 12 years at the “Stefan Luchian” High School of Art in Botosani, later focusing on the theoretical aspects of music. In 2019 she completed her bachelor studies in Musicology as a student of the National Academy of Music “Gheorghe Dima” in Cluj-Napoca. Her research during 2018-2019 brought to the forefront elements of the archaic ritual within works of composers who activated during the communist period, giving her the opportunity to start a research internship at the “Carl von Ossietzky” University in Germany. In this context, she recorded conversations with members of the Sophie Drinker Institute in Bremen, and had access to documents directly from the Myriam Marbé archive.
Since 2019 she has been a teacher of Music Education and Theoretical Music Studies, making full use of interactive methods in the musical training of students and working, at the same time, with the children’s choir founded in the first year of her activity.
Her interests include pursuing a degree in interior design in 2020.
Alexandru Suciu inherited his passion for art growing up in a family of several generations of musicians. He began his musical studies at the “Augustin Bena” School of Music in Cluj, where he studied piano and guitar. Even though his main study direction was philological, his passion for music prevailed. He began his academical journey at the Faculty of Letters of the “Babeș-Bolyai” University, studying Comparative literature and English. He continued by studying Opera Singing at the “Gheorghe Dima” National Music Academy. He also graduated the Musical Education section, followed by Artistic Directing at the Musical Performing Arts department.
His multidisciplinary education opened the doors towards research, which is seen both through his participation in national and international conferences and symposia, such as the Salzburg Easter School PhD-forum, organized by the Salzburg Universität or the Silesian Meeting of Young Scholars, organized by the Institute of English at the University of Silesia, as well as the collaboration with Opera Charm Magazine.
During his student years, he won several prizes, including the Grand Prize at the “Paul Constantinescu” National Musical Interpretation Competition, the Romanian Composers and Musicologists’ Union Prize at the same competition, the First Prize and the Schubert Prize at the “Ada Ulubeanu” Competition.
He further developed his artistic skills by specializing in courses and masterclasses held by personalities such as Vittorio Terranova, Giuseppe Sabbatini, Marian Pop, Ines Salazar, Riccardo Zanellato, Paolo Bosisio, Valentina Farcaș and Manuel Lange in contexts such as the Internationale Sommerakademie für Operngesang Deutschlandsberg, Corso Internazionale di Canto Lirico I.M.C. Licata or the Europäische Akademie für Musik und darstellende Kunst Montepulciano. Besides his activity on-stage, he currently teaches Opera Singing Didactics, and Pedagogical Practice within the Department for Teacher Education and Training at the “Gheorghe Dima” National Music Academy.
Cristina is a 24 year-old Romanian soprano & a student at the National University of Music Bucharest, where she pursues the MA program in Vocal Performance.
She made her debut in Pamina from “Die Zauberflöte” by Wolfgang Amadeus Mozart at only 19 years old at the Bucharest National Opera House, as a member of the Ludovic Spiess Experimental Opera Studio. Over the years she made her debut in roles such as Contessa d’Almaviva (Le nozze di Figaro), Mimì & Musetta (La Bohème), Alice Ford (Falstaff), Erste Dame (Die Zauberflöte) in her university’s opera productions.
Her passion and experience extends in the field of choral music, too.
She has been part of our dream team since the fall of 2021. For a good period of time she took care of OPERA Charm’s social media and took you on the monthly journey through the history of opera through our Legends rubric – and a few times through the Theaters around the World rubric.
Her little soul rubric – from 2021 to present – is definitely the Conductors of the Future, where, every month, she gives you the chance to meet a young star of the world of conducting and, of course, to find out what’s the most charming feature of opera in these artists’ views.
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