Born and raised in Leeds, Beth is in her first year at the Royal College of Music's International Opera School where she is studying with Dinah Harries. Beth completed her Masters on the Preparatory Opera course at the Royal Academy of Music studying with Catherine Wyn Rogers and Mary Hill and her undergraduate at the Royal Welsh College of Music and Drama where she studied with Marilyn Rees and Jeff Howard. On stage, Beth has performed the roles of Maurya (Riders to the Sea, British Youth Opera Cover Show 2015), Hermia (A Midsummer Night's Dream, Opera in the City 2015), Nancy (Albert Herring, Hampstead Garden Opera 2014), 3rd Boy (Die Zauberflöte, Woodhouse Opera Festival 2014) Frau Viehmann, the Witch and Granny in the European premier of Canadian composer Dean Burry’s chamber opera The Brothers Grimm, Juno/Public Opinion (Orpheus in the Underworld, Opera'r Ddraig 2013/Leeds Youth Opera 2010) as well as appearing as chorus in Die Meistersinger von Nürnberg, Le nozze di Figaro & Béatrice et Bénédict (Glyndebourne Festival Opera 2016), Le nozze di Figaro & The Rake's Progress (Royal Academy Opera 2015), Cavalleria Rusticana/i Pagliacci (Woodhouse Opera 2014), La Bohéme (St. Endellion Music Festival 2014) and Faust (Leeds Youth Opera 2010). Beth has covered the roles of Woodpecker in Janacek's The Cunning Little Vixen and 2nd Bridesmaid in Mozart's Le nozze di Figaro with Glyndebourne Festival Opera and Stewardess in Jonathan Dove's Flight with Opera Holland Park. Royal Academy of Music, Bitesize Opera, Ormond Opera, Opera'r Ddraig and Welsh National Youth Opera scenes have provided the platform for Beth to perform the roles of Stewardess (Dove's Flight), Mother (Humperdink's Hänsel und Gretel), Nancy (Britten's Albert Herring), Dido (Purcell's Dido and Aeneas), Dorabella (Mozart's Cosi Fan Tutte), Marcellina Mozart's Le Nozze di Figaro, 2nd & 3rd Lady (Mozart's Die Zauberflote), Ursule (Berlioz' Béatrice é Bénédict) and Mrs Olsen (Kurt Weill's Street Scene). Oratorio engagements include: Mendelssohn's Elijah, Verdi's Requiem, Mozart's Requiem, Rossini's Petite Messe Solennelle, Dvořák’s Mass in D, Bernstein's Chichester Psalms, Handel's Messiah, Vivaldi's Gloria, Karl Jenkins' The Peace Makers, Vivaldi's Magnificat and Haydn's Stabat Mater. While in Cardiff, Beth performed with the BBC National Chorus of Wales as a choral scholar and appears regularly in semi-choruses (including Belshazzars Feast BBC Proms 2012 and Mahler 8 in Wales Millenium Centre with Valerie Gergiev) and as a soloist. She also took part in RWCMD college performances including Brahms Requiem, Alexander Nevsky and Verdi Requiem with Carlo Rizzi at St. David’s Hall and was selected to be part of an octet to sing in a St David's Day concert at the RWCMD for HRH Prince Charles. Along with her passion for classical and operatic singing, Beth has a strong love of both jazz and musical theatre. Having started as a jazz singer, Beth has performed as a member of the Leeds Youth Jazz Rock Orchestra in numerous venues across Leeds including Leeds Town Hall. She has also been involved in several musicals taking the parts of Madame Thenardier in Les Miserables, Miss Sherman in Fame, Grace Farrell in Annie and Bet in Oliver! In November 2013 she took to the stage, creating the role of Medusa in new musical Fleeced by Matthew Pauley and James Golborn, alongside fellow RWCMD students. Beth is an RCM Scholar supported by a Pidem Award and is also generously supported by The Vivien and Peter Beckwith Fund, Josephine Baker Trust and Commander and Mrs Vigrass.
...the cast of four produced dramatically focused and confidently sung performances... Beth Moxon delivered Ella’s short, declamatory lines with conviction and fluency, while managing to make Ella appear convincingly troubled and ‘lost’.
Beth Moxon was a dissatisfied, emotionally frustrated Ella, living largely in her imagination.
Beth Moxon convincingly charts Ella’s quiet disintegration
Elgar's The Music Makers - The music requires large forces and much subtlety of tone. The combined choirs were equal to the task, as was the striking mezzo, Leeds-born Beth Moxon, whose strong voice and clear diction enabled her to rise above the tremendous wave of sound from choir and orchestra at her back.
Handel's Faramondo - Beth Moxon convincingly captured the conflicted Rosimonda’s inner battle with desire and duty. The only thing she seemed certain about, as she strutted and fretted back and forth, compulsively chain-smoking, was her disdain for Gernando. Rosimonda’s vengeance aria bristled, but her final aria charmed and calmed.
Handel's Faramondo - Beth Moxon is the glamorous, self-assured Rosimonda
Beth Moxon’s mobster princess Rosimonda has a rich and wide-ranging coloratura.
Ida Ränzlöv’s Faramondo and Beth Moxon’s Rosimonda were a good match for each other, projecting different layers in their characters – each strongly declaiming their first aria to show that they mean business, but expressing more nuance later.
Handel's Faramondo - Beth Moxon’s suave Rosimonda is the torch singer...Moxon puts her arias over with the panache of a cabaret star.
Strikingly mature, both vocally and dramatically, Beth Moxon’s Maurya is the centre to this maelstrom of musical grief.
Handel's Israel in Egypt - Beth Moxon had a little more to do, including introducing the first chorus. With only a few chances to impress, it would be tempting to overdo the volume. Instead, she measured And the children of Israel sighed with delicacy. The choral society picked up on that... the whole choir sang their entries with the same spirit: the restraint and refinement made for a moment of true beauty. Her duet with tenor Dominic Bevan and her solo Thou shalt bring them in were sung with flexible delicacy. If Handel’s line demanded tricky rhythmic skips before a long, held note, it sounded perfectly natural, with an engaging shape to each longer note.
There was more Handel (Verdi Prati from Alcina) from mezzo Beth Moxon: sad, wistful and lovely. My highlight of the evening was Monteverdi's Pur ti miro (L'incoronazione di Poppea). A stunning duet from Beth and Sofia, they beamed with serene enjoyment as they recreated the magic of music first performed in 1643
"... startlingly good... the golden-toned, golden-headed Beth Moxon (Nancy)... grew with her role as much as Davies (Herring)