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”Good fun and sturdy voice”
Eduige, Rodelinda
The Guardian

Summer 2021

Meg Page
Falstaff
Scottish Opera

After an uncertain year, Sioned is thrilled to be back working with Scottish Opera as Meg Page in their summer production of Falstaff.

In 2019/20 season Sioned made her debut with English National Opera as Pitti-Sing in The Mikado and sang 2nd Secretary to Mao in Nixon in China with Scottish Opera. Sadly due to Covid-19 her professional debut at the Wigmore Hall with La Serenissima and a tour of The Gondoliers singing Tessa for Scottish Opera were postponed.

She made her professional operatic début in 2012 as Margarida in The Yellow Sofa for Glyndebourne Festival Opera’s Jerwood Project, both in the Festival and on the autumn tour, she returned to Glyndebourne to cover the roles of Olga, Eugene Onegin and Annina, La Traviata in 2014.
In 2013 she performed Kate in The Pirates of Penzance with Scottish Opera and was subsequently offered an Emerging Artist Contract with the company for the 2013/14 season where her roles included Eduige in Rodelinda and Third Witch in Macbeth. She has since performed as a Guest Artist with the company in the roles of Third Dryad in Rusalka; Pitti-Sing in The Mikado, Olga in Eugene Onegin; Stewardess in Flight, Maddalena in Rigoletto and 3rd Lady in The Magic Flute .

Other operatic experiences include Tisbe in La Cenerentola for West Green House Opera, her Spanish début as Olga in Eugene Onegin with Opera Valladolid, Second Lady in The Magic Flute with Longborough Festival Opera, cover Eduige in Rodelinda for English National Opera and Title Role in a Welsh language translation of Carmen at the National Eisteddfod of Wales with Opra Cymru. Whilst a student she sang Marcellina in Le nozze di Figaro, Frau Reich in Die Lustigen Weiber von Windsor, Hermia in A Midsummer Night’s Dream; Marta in Iolanta; Mere Jeanne in Dialogues des Carmelites; cover Madame de Croissy in Dialogues des Carmelites and cover Florence Pike in Albert Herring.

”Sioned Gwen Davies plays the cruel siren figure of Maddalena with a disturbing coldness that fuels the hideous chill and horror of the final act”
The Scotsman

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”... an exuberant Olga”
The Telegraph