Sophie Patterson

Why do people sing instead of speak?

“Baby, singing is emotion.” - my charming teacher Vladimir Chernov (imagine a cute slight Russian accent for a better recollection).

But truly singing is often for when words no longer suffice and music is necessary to play further in the depths of the human heart. I like to thinks singing is also for boredom as I, a person, often take to singing when washing the dishes as well. In fact I now will posit that singing is for those who want whimsy in a world of machines. 

What role can/should music theatre play in today’s society?

A mirror. But both one that reflects what’s in it and shows the endless possibilities behind it. I feel sometimes we can get stuck on reflecting back to our audiences and can forget to inspire them towards something more. Mirrors aren’t just for reflecting, they’re also for showing and refracting light. I think theatre should focus on the refraction. 

What does an audience give to a performer?

Addiction. No I jest, but I don’t.

Inspiration, humbleness, energy, fear and freedom. A bad audience is quiet, but even then they give us a chance to sit with discomfort and fear and the lack of response. A great audience fills the room with attention, laughs, sobbing, and —hopefully— applause and they sustain us. However in order to feel full we must feel empty. An audience good or bad truly is a part of theatre. Even alone we are an audience of one. I myself am sometimes a bad audience member to myself, but by being one at all I have given and received energy and created theatre.

I also think that performance is courage. Courage doesn’t need to be seen, but it feels more important when observed. 

***

Born in

Los Angeles, California, USA

Education

UCLA (University of California, Los Angeles)- Bachelors of Musi

Ecole Normale Musique de Paris Alfred Cortot- Diplôme d'Exécution

Royal Academy of Music, London- Masters of Music 

Important engagements

Lied the Way Festival 2026

Shakespeare Music Festival Stratford 2027

Important work at the Volksoper Vienna

Zweite Dame - Die Zauberflöte 

Die Knusperhexe - Hänsel und Gretel

Kate - Pirates of Penzance

Die Stimme der Mutter - Les Contes d’Hoffmann

Da Stubenmädchen/Das Süße Mädel - Reigen

Prinz Orlofsy (Cover) - Die Fledermaus 

Anna 1 (Cover) - Die sieben Todsünden

Collaborations that shaped you as an artist

In my undergrad at UCLA, I worked as an Assistant Director and Assistant Stage Manager for Peter Kazaras, the head of our opera program at the time. Being an 18 year old, new to opera, in the room with him and getting to observe opera being created at a high level with high standards and without artistic compromise has greatly shaped the singer I am today.

I also was greatly inspired by the time I spent working with my voice teacher Raymond Connell in London at the Royal Academy, he encouraged me to listen to myself and showed me how to have courage and strength in a world full of criticism and politics.

The collaborations that shape me constantly and continuously are those I find in piano bars on a weekday evening, in the jam sessions of Blues and jazz and musical theatre for mixed audiences of connoisseurs and ignorance. With strangers and new and old friends alike, these collaborations keep me honest, curious, and humble in a world of ego and plastic. 

Significant awards and honors

Special Prize, Africa Lyric Opera Competition, 202

Second Prize, Cap Ferret Music Open Masters, 202

Special Prize, Ise-Shima International Singing Competition, 2021 

Website

sophiepatterson.com