Ella Marshall Smith | Soprano




Leçons de ténèbres - François Couperin

1 April 2021 | Kammermusiksaal Havelschlösschen 



Ein Lied für den Morgen, eins für den Abend: Alte Musik für Flöte, Theorbe und Gesang

Ellen Czaya (Flöte) & Charlie Zhang (Theorbe/Renaissancelaute)

17 Oktober 2020 | Neu Zittau



Rundfunkchor Berlin | Franziska Kuba

8, 9 Oktober 2020 | SchwuZ Berlin


Ell(e) a f(u)i - Ella Smith and Fiona Tibbles in Recital

2 September 2020 | Ponsonby Baptist Church, Auckland



Symphony No. 2 Resurrection - Gustav Mahler

Rundfunkchor Berlin | Berliner Philharmoniker, Gustavo Dudamel

11, 12, 13 June 2020 | Philharmonie Berlin



Requiem in D minor KV 626 - W. A. Mozart

Rundfunkchor Berlin | DSO Berlin, Sir Roger Norrington

11 April 2020 | Philharmonie Berlin



Leçons de ténèbres - François Couperin

2 April 2020 | Kammermusiksaal Havelschlösschen 


Das größte Kind - Johann Mattheson

La Protezione della Musica

24 January 2020 | Simon-Petrus-Kirche, Bremen


Die leise Rebellion

Alte Musik Fest Friedenau

25 October 2019 | Kino Cosima


The Punk's Delight - Eine neue elisabethanische Masque

Berlin Broken Consort | Alte Musik Fest Friedenau

20 October 2019 | Kammermusiksaal Friedenau



Soprano Ella Smith completed her Bachelor of Music in classical voice at the University of Auckland under the tutelage of Dr. Morag Atchison. Ella has sung with Voices New Zealand, the New Zealand Youth Choir, the NZ Opera Chorus and the Age of Discovery Vocal Ensemble. She is a recipient of the DMMF Excellence Award. 


Ella moved to Germany in 2016 to further pursue singing. In 2018, she was selected as one of the four Academy scholars with the Rundfunkchor Berlin, and continues to sing with the ensemble on a freelance basis. The following year, she was a member of the Internationale Bachakademie Stuttgart JSB Ensemble and performed in several concerts at the Stuttgart Bachwoche under the direction of Hans-Christoph Rademann and Jos van Veldhoven. Highlights of her choral career so far include performances of Arvo Pärt’s Te Deum with Ivan Fisher, J.S. Bach’s St Matthew Passion under the baton of Stephen Layton, the Duruflé Requiem with Robin Ticciati, and Wagner’s Parsifal with the Berliner Philharmoniker and Sir Simon Rattle.


Ella is currently studying Historical Singing at the Hochschule für Künste in Bremen under the tutelage of Benno Schachtner and Bettina Pahn. Ella’s passion for early music began at the University of Auckland, singing with the Age of Discovery ensemble directed by James Tibbles. One of her performance highlights in New Zealand was a radical re-staging and recomposition of Purcell’s Dido and Aeneas with Unstuck Opera. This sparked an interest in the interplay between early music and the modern age, a theme that she has been able to explore further through her work with Berlin-based ensemble Les Fleurs du Mal and ongoing interdisciplinary projects with the other faculties at the Hochschule für Künste Bremen. 


Ella performs regularly with Berlin-based lutenist Max Hattwich, as well as colleagues from the early music scene in Bremen. In 2019 she was invited to perform at the Alte Musik Fest Friedenau in Berlin, including a sold-out opening concert exploring the themes of gender identity and expression.





Dido and Aeneas - recomposed by Alex Taylor

2nd Woman | Unstuck Opera

"Thanks to Frances Moore’s radical staging, Purcell and Nahum Tate’s tune-filled tale of ill-fated love and wicked witchery made for inspired musical theatre…a cast of four singers brought their characters to life with touching detail and observation…Ella Smith completed the female trio with style."



Great Opera Moments Gala Concert 

 New Zealand Opera School 

"Later another most effective Donizetti aria appeared: ‘Chacun le sait’ from La fille du regiment…Ella Smith, as Marie, the offspring of the regiment, in loose, orange, quasi-military trousers sings and gestures in vivid military style, it was another real high-point of the evening."


"Soprano Ella Smith’s Chacun le sait, from Donizetti’s Daughter of the Regiment, was an infectious, fun rendition…the audience loved her swooping on to those top notes and ever staying the mischievous young girl."


Neue Renaissance - Sechs Diptychen für Chor a cappella

Kammerchor Univocale Berlin

"Demgegenüber das Magnificat für Doppelchor des Briten Giles Swayne, Jg. 1946), das silbig im Pym-Pom anhebt und verschiedene Polyrhythmica und minimalistische Motive ausspinnt. Eindrücklich der Schluss mit einer weit ausschwingenden Mezzosopransequenz solo."


Die Fledermaus 

Adele | Opera Factory

"Her ‘Mein Herr Marquis’ was a pure delight, so very enjoyable in the context of the story."




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