Lesley Garrett

Lesley Garrett – Life, Career, and Famous Quotes

Discover the life journey of English soprano Lesley Garrett: from her musical roots in Yorkshire to international acclaim. Explore her career, philosophy, and memorable quotes.

Introduction

Lesley Garrett, CBE (born 10 April 1955), is one of Britain’s best-known sopranos, celebrated for bridging classical and crossover genres, and equally recognized as a broadcaster and public personality.

Her appeal lies not only in her vocal talent, but in her ability to bring classical music to a broader audience, to interpret both operatic and lighter repertoire, and to maintain a sustained presence in media and performance. Over more than four decades, she has built a multifaceted career that blends seriousness and accessibility.

Early Life and Family

Lesley Garrett was born in Thorne, near Doncaster in South Yorkshire, England, into a family with strong musical inclinations.

Growing up, Lesley was surrounded by music. She sang in choirs, joined school musicals, and benefited from the encouragement of her family’s artistic background.

She attended Thorne Fieldside Infant and Junior Schools, followed by Thorne Grammar School.

While a student at the Royal Academy of Music in London, Lesley also at times worked as a life model to support her studies—a fact she has spoken of with pride in later years.

Youth and Education

Lesley Garrett’s formal advanced musical education took place at the Royal Academy of Music.

Her talent was recognized when she won the Decca Prize of the Kathleen Ferrier Award in 1979, which helped to launch her professional career.

Following that achievement, she began taking on operatic roles. Her early roles included Amor in Orontea, Alice in Le comte Ory, Dorinda in Orlando, Sophie in Werther, and roles in Zaide and L’incoronazione di Poppea.

By 1984, Lesley had become a principal soprano with English National Opera (ENO), performing major roles such as in Serse, Le Nozze di Figaro, Così fan tutte, Die Fledermaus, and The Mikado.

She also has been associated with Welsh National Opera and other companies.

Career and Achievements

Operatic & Concert Work

Over the years, Lesley Garrett has performed widely across the UK and internationally—in Europe, the U.S., Australia, Russia, Brazil, Japan, Malaysia, Taiwan, and South Korea.

Her repertoire spans pure opera and crossover classics. She is known for her flexibility: performing in operas, concerts, recitals, and televised events.

In 2005, she performed the lead role of Hanna Glawari in a touring production of The Merry Widow with Welsh National Opera.

In 2006 she took on the role of the Mother Abbess in Andrew Lloyd Webber’s revival of The Sound of Music, bringing her classical voice into theatrical repertoire.

In 2008, she appeared in a production of Carousel as Nettie Fowler, touring the UK and later appearing in London’s West End.

She has also created new roles: for example, in April 2016, she premiered the role of Val in Pleasure, the first opera by Mark Simpson, with Opera North.

Beyond staged performance, Garrett often appears in concert settings, TV special events, and collaborations crossing genre boundaries (pop, classical crossover).

Recording & Media

Lesley Garrett has recorded numerous solo albums; many have achieved silver or gold status. Soprano in Red was awarded a Gramophone award for “Best-selling Classical Artist of the Year.”

Some of her notable albums include Diva! A Soprano at the Movies, Prima Donna, Simple Gifts, A Soprano Inspired, When I Fall in Love, Amazing Grace, A North Country Lass, among others.

Her Amazing Grace album, released in late 2008, includes Christian hymns and religious classical songs and charted in the UK (peaking at No. 50 on the UK Albums Chart, No. 5 on the UK Classical Artist Albums Chart).

She has also appeared frequently on television and radio: hosting shows, participating in classical‐music programming, and appearing as a panelist or guest on daytime television.

In 2004 she took part in the first series of Strictly Come Dancing, partnered with Anton du Beke, finishing in third place. Who Do You Think You Are?, tracing her family background.

She has served on boards and in artistic governance: she has been a board member of English National Opera, a vice president of Harrogate International Festivals, and a Fellow of the Royal Academy of Music.

In recognition of her contributions to music, she was named a Commander of the Order of the British Empire (CBE) in 2002.

Historical Milestones & Context

Lesley Garrett’s career must be understood in the context of late 20th and early 21st-century classical music and broadcasting in the U.K.

• Classical crossover trend: Garrett came to prominence just as “crossover” – blending classical and popular styles – was gaining ground. Her versatility allowed her to reach wider audiences beyond strictly operatic circles.

• Media expansion: Her presence on TV, radio, and public broadcasting helped bring classical music to more mainstream platforms, especially in Britain.

• Cultural democratization: She often speaks about combating the notion that opera and classical music are elitist, striving to present them as accessible and emotionally resonant.

• Female public figure in classical music: Garrett occupies a role that is not purely artistic but also public-facing—a woman in a visible classical‐music role bridging performance, media, and education.

• Longevity through change: Over decades, the classical world has evolved (changing tastes, funding pressures, digital disruption). Garrett’s ability to adapt—with recordings, broadcasting, crossover, and theatrical projects—has allowed her relevance to endure.

Legacy and Influence

Lesley Garrett’s influence is significant in several domains:

• Bridging audiences: She helped bring opera and classical music to people who might otherwise never attend an opera—through her media work, recordings, and crossover projects.

• Role model for versatility: Her career shows that a classical artist need not confine themselves to narrow repertoire—they can cross into musical theatre, broadcasting, and popular media.

• Advocacy and education: Her public statements often emphasize that classical music should not be elitist, that standards matter, and that pathways for young singers should not be circumvented by shortcuts.

• Governance and institutional impact: Through board roles and her association with national music bodies, she has had influence beyond performing—helping shape policy and institutional direction.

• Endurance over decades: Many performers fade, but Garrett’s consistency in recording, performing, and appearing in public media means her presence is still felt across generations.

Personality and Talents

Lesley Garrett is often described as charismatic, determined, and passionate about music. Her public persona is warm, energetic, and engaging.

Her strengths include:

• Vocal discipline and technique: She has emphasized “vocal hygiene,” supporting her speaking voice via diaphragm engagement even off stage.

• Perfectionism and dedication: She speaks openly of the sacrifices required in singing, as well as the hard work behind seemingly effortless performances.

• Broad musical sensibility: She is comfortable in pure opera, in crossover, and in concert repertoire, including hymns and lighter fare.

• Media skills: She adapts well to television and radio, presenting herself with clarity, vivacity, and communication skill.

• Resilience and fortitude: She has navigated the pressures of public life, changes in taste, and the shifting landscape of classical music while maintaining artistic identity.

Of course, no public figure is without challenge. At times she has faced scrutiny—some criticized a televised performance of the British national anthem as lacking gravitas.

Famous Quotes of Lesley Garrett

Here are several notable quotes that reflect her philosophy about music, performance, and life:

“That was when I realised that music is the most profound, magical form of communication there is.”

“One of the problems that we face … is that there has been an awful lot of talk about opera and classical music being elite and being for an elitist group.”

“I do a lot of vocal hygiene.”

“It worries me that young singers think you can shortcut the training and go straight to fame and fortune, and programmes like Pop Idol have encouraged that.”

“To tell you the truth, I never listen to opera at home.”

“Music is there to access those dark emotional corners that we don’t normally get too close to.”

“My mum used to say to me, ‘Spit on yer ’ands and take a fresh ’old.’ Keep going even if you have setbacks.”

“I wouldn’t want to criticise someone like Charlotte Church … but personally I’ve always cared about the long term.”

These quotations reveal her deep respect for craft, her caution against shortcuts, and her belief in music as expressive and human.

Lessons from Lesley Garrett

1. Mastery demands patience
   Her reminders about proper training and vocal discipline highlight that artistic success is rarely instantaneous.

2. Crossing boundaries broadens reach
   By not confining herself to opera alone, she demonstrated that artists can—and perhaps should—straddle genres to stay relevant and connect with diverse audiences.

3. Communication is central
   She views music as a profound form of communication, not mere entertainment. That mindset elevates performance into something more meaningful.

4. Protect the instrument
   Her practice of vocal hygiene and attention to technique underscores the necessity of caring for one’s body as an artist.

5. Maintain humility and resilience
   Her mother’s advice about setbacks, and her own openness about challenges, suggest that confidence must be balanced with groundedness.

6. Find balance between art and persona
   Garrett’s public visibility and media work show that success in modern classical music often involves persona, presentation, and outreach—not just private excellence.

Conclusion

Lesley Garrett’s journey—from a musical family in Yorkshire to being one of Britain’s most recognizable sopranos and media personalities—is a testament to sustained artistry, adaptability, and courage. She did not just remain in the opera house; she ventured into crossover, broadcasting, theatre, and public engagement, expanding the reach of classical music.

Her legacy lies not only in her recordings and performances, but in her advocacy for musical access, her insistence on integrity in training, and her role as an ambassador between “serious” classical traditions and wider audiences.