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Sophia Brumfitt has performed as an oratorio soloist, with renaissance and medieval ensembles. Her versatile and agile voice has enabled her to work in areas spanning the entire spectrum of early music; from Medieval to Early Classical, through traditional Celtic and Sephardic song.

Sophia has just completed her Masters in Musicology at Royal Holloway University of London writing on Medieval Song, on Performance Studies and Ethnomusicology. This has left less time available for singing projects, although 2016 saw the airing of music arranged and performed by Sophia, featured within the BBC4 series ‘Renaissance Unchained’. Waldemar Janusczcak heard her singing in a local church, employing her on the spot as the ideal performer to illustrate the power of text, and ‘the heavenly in music’. Recordings with medieval ensembles Bardos Band and Daughters of Elvin have played on BBC Radio 3, and she has appeared on BBC Radio 4's Woman's Hour talking about the enduring love song.

A trip to Vancouver Early Music Festival in 2015 fulfilled a long-standing ambition to study the Early Troubadours and Trouvéres with Benjamin Bagby and members of Sequentia within their Summer Programme.

As a soloist, she has performed soprano solos in Monteverdi ‘1610 Vespers’ at Douai Abbey, and at Clifton Cathedral, Bristol, J.S. Bach ‘Bminor Mass’ at Sherborne Abbey, sung chants from the liturgical ‘Play of the Sybils’ for Julia Pond Dance and improvised on works in an exhibition by Helen Scalway in ‘Singing the Drawings’ at St. George's Church, Esher, and appeared as a recitalist at Handel House Museum.

She appeared as Seraphina in Celestial Sirens' dramatization of Sarah Dunant's novel ‘Sacred Hearts’ at  Manchester Literature Festival and Brighton Early Music Festival, and sung as a soloist with Musica Secreta in ‘Passion & The Princess’ featuring music from the court of 16th century Ferrara for BREMF. She has combined solo singing with dance for medieval Ensemble Mediva,  and in the baroque dance project Orpheus Britannicus at Cadogan Hall for Mercurius Company.

In 2012 Sophia returned from a four-week tour of Australia with Lutenist Rosemary Hodgson. Their duo Rosa Mundi revived music for the rarely heard HarpLute as well as theorbo and Lute songs following a week as Artists in Residence with the Bundanon Trust in New South Wales. An ongoing research project called Songs for Mary Hodgson, features a programme of songs from the 1690s London Stage, which she first performed with harpsichordist Robert Howarth and later revived for various music festivals throughout the UK.

She is a member of the medieval ensemble Bardos Band, has appeared with Ensemble Mediva, in Dartington Festival Baroque Opera, baroque consorts Phoenix RisingHanbarne Ensemble and with The Dolmetsch Ensemble and has sung at many prestigious venues,  in choirs with Sir Neville Marriner's Academy of St. Martin-in-the-Fields, and Gabriel Garrido's Ensemble Elyma.

She has appeared in concerts at Melbourne Recital CentreThe Handel House MuseumThe Swan Theatre-RSC, Brighton Early Music FestivalThe National Portrait GalleryLiverpool Hope UniversityBloomsbury TheatreCadogan HallUpstairs at the GatehouseThe King of HeArts in Norfolk and Norwich FestivalYork Early Music FestivalMusic in Quiet Places and the Salisbury International Arts Festival.    

Sophia studies with Jessica Cash, having previously studied with Mary King, Lillian Watson, and Nigel Rogers.  She has also taken the PGDiploma in Early Music Performance at RCM and did The Knack- a stage skills course for singers run by ENO.


Ce Jour de l'An Guillaume Dufay

15th Century rondeau for 3 voices, it is a chanson celebrating the New Year, in which the singer longs for a new lover with the New Year, with whom he can smile, sing and dance, and to whom he can give his heart, and body and worldly goods.

From Sesons by Bardos Band

"The beautiful voice, stage presence and clear diction of Sophia Brumfitt created a real sense of occasion which lifted everyone's spirits.."
Aude Gotto
King of Hearts Arts Centre, Norwich

"A range of vocal colouration some, much better known singers, would do well to emulate."
Rex Harley
'Music & Vision Daily'

"I quite thought that Bordoni would jump out of her picture-frame and start beating her up out of jealousy."
Ruth Harris
'Thames Valley Early Music Forum'