![](https://www.victorianopera.com.au/wp-content/uploads/2023/02/Rebecca-Rashleigh-Headshot1.png)
Rebecca Rashleigh
Soprano
Rebecca will be playing one of the Maidservants in Elektra, September 2022 and Clorinda in La Cenerentola, March 2023.
A graduate of the Victorian College of the Arts, Rebecca has performed many various roles with several opera companies within Australia and Asia such as Parrwang (Parrwang lifts the sky), Woglinde (Das Rheingold), Marzelline (Fidelio), Blonde (The Abduction from the Seraglio), Susanna (Le Nozze di Figaro), Pamina (Die Zauberflote), Liu (Turandot), Lauretta (Gianni Schicchi), Gretel (Hansel and Gretel) and Poppea (L’incoronazione di Poppea).
Rebecca has also received several awards one being the much prestigious Herald Sun Aria in 2018 and this year she was nominated for a Greenroom Award in her portrayal of Marzelline in Fidelio (2020).
Last 3 major performances
- Parrwang in Parrwang Lifts the Sky, June 2021
- Nightingale in Sleeping Beauty, Victorian Opera, 2021
- Woglinde in Das Rheingold, Melbourne Opera, 2021
Education/Training
- Bachelor of Music Performance, Victorian College of the Arts and Music
Age when you started singing
14
Favourite opera
Le nozze di Figaro (Wolfgang Amadeus Mozart). This opera was way ahead of its time and has such detailed and well-developed characters. Also for a long opera, I personally find there are no boring bits which is always a plus.
Favourite opera role to perform
Susanna, Le Nozze di Figaro by Wolfgang Amadeus Mozart.
I know, very boring since it’s all my time favourite opera but Susanna is such a kick arse chick and a true feminist for her time!
A fun fact not many people know about you
I have a cert. III in Auslan. At one stage I was considering becoming an Auslan interpreter.
What do you like to sing in the shower?
I love to “try” and sing all the famous coloratura arias, in particular Lucia’s Mad scene. I love the delusional confidence that the shower gives you, thinking that no one can hear you.
Awards
Winner of the Herald Sun Aria, 2018