For many young artists, the journey to the world’s elite opera stages feels like a distant dream. But for Old Bedian and mezzo-soprano Georgia Mae Ellis, the foundation for a glittering career in classical music was built right on the grounds of Bede’s. From starring as Mary Poppins in a Prep school production to recently stepping onto the stages of Glyndebourne and the Royal Opera House, Georgia’s rise in the opera world is a testament to dedication, professional mentorship, and a deep-rooted passion for the performing arts.

We sat down with Georgia to talk about her breakthrough moments at school, how she handles the dramatic demands of her roles, and her advice for the next generation of creative talent.

Looking back at your time at Bede’s, did you already know back then that you wanted to pursue opera as a career, or was there a specific breakthrough moment during your school years that sparked that passion?

100%. It actually started kicking things off when I was about seven years old at the Prep school. I went to see a ballet performance at the Legat School of Dance, which my older sister was in. There was an instrumental interlude where somebody played the flute, and I turned to my mom and said, "Oh my gosh, that is so beautiful. I want to learn that." So, I started flute lessons.

Around that time, there was also a lot of singing going on, every year group had a choir. I just loved the group nature of it and loved singing the hymns during Wednesday practices. Things really began to bloom when we did a production of Mary Poppins. The Head of Music at the time told me, "I think you’ve got quite a good voice and we should encourage it," and I landed the role of Mary Poppins. That’s where the love for theater productions and drama lessons started.

My mom floated the idea of opera because it combined singing and acting. My grandma was a trained singer who loved opera, so we used to listen to it together. The absolute turning point came when I got a music scholarship to the Senior school. My parents treated me to a trip to Glyndebourne when I was 13. I saw a woman lying on stage, singing so beautifully, and I thought, That’s amazing. That’s what I want to do. That was the moment.

And did you go for singing lessons specifically in the style of opera, or was it a broader approach?

We always started with classical stuff; things from the exam boards, but we did jazzy things too. My singing teacher at school and my grandma both gave me a great piece of advice: whatever kind of singing you want to do, being classically trained is the way forward. It gives you the technique to do anything you want properly. I sang traditional folk songs, "Where Is Love?" from Oliver for my Grade 1, and "Walking in the Air." It just felt really good to sing that kind of material.

The transition from school to elite conservatoires like the Royal Northern College of Music and the Royal Academy of Music is a massive leap. How did your time at Bede’s prepare you for the intense focus and discipline required in higher musical education?

I have to mention Robert Scarmadella because he was a massive influence, and we are still in touch today. He was so passionate about giving us high-level performance experiences. He never treated me like a standard student; we worked as a duo where he would accompany me, treating the process with adult professionalism.

At the school, we were taught the small details that make you appear professional; how to bow, how to walk on stage, how to announce your pieces during recitals, and how to dress for an event. Big events like Cabaret taught us how to handle technical rehearsals and find our light on stage.

I also have fond memories of Andrew Barkley, the Head of music when I first started. He ran a massive choir of 70 people, combining both staff and students, which was brilliant for teaching us how to be part of a large ensemble. We even did an exchange trip to New York, performing with the National Youth Orchestra of New Jersey, and I'm still in touch with friends I made during that trip.

You’ve achieved incredible milestones recently, from being a Glyndebourne New Generation Young Artist to performing at the Royal Opera House. What has been the most surreal or rewarding moment of your professional career so far?

Coming full circle at Glyndebourne has been completely surreal. I was part of the Glyndebourne Youth Opera when I was 13 or 14, and I remember stepping onto that stage back then. To return to that exact same local opera house, join the Glyndebourne Chorus a few years ago, and then return in 2024 to perform my very first solo role there, it was amazing.

But the most surreal recent experience was receiving the email for a major job opportunity right after an audition I did while pregnant. I went into that audition just wanting to enjoy the process, and getting that offer was just mind-blowing.

The industry is incredibly competitive and it can be hard to break through, but having the backing of great institutions helps. Another teacher at Bede’s, Roy Hilton, told me something that always stuck with me: “The most important thing you can learn before going into this profession is to be nice to work with.” That simple piece of advice goes a long way.

As a mezzo-soprano, you get to inhabit a fascinating range of characters. How do you approach the acting and dramatic side of your work, and did any performing arts experiences at Bede’s help lay the groundwork for that?

Mezzo-sopranos play a wide expanse of characters, including young boys (breeches roles), which is a fascinating concept! My drama experiences at school prepared me beautifully for that. For my A-level theater studies, I worked with Sarah Kate Bread and Richard Wearing. We did a production of Twelfth Night, and Sarah, who had a wonderful sense of humor, cast me as Sir Toby Belch. I had to wear a full fat suit and hold a turkey leg on stage right in front of my parents! Because we had an all-girl class for GCSE drama, we were entirely used to dressing up as men and playing male roles, so it felt completely natural to embrace the silliness and comedy.

On the flip side, we also did a production of The House of Bernarda Alba, where I played the serious, intense matriarch. Digging into that heavy text, analyzing the script, and deeply discussing the character gave me a phenomenal foundation for the dramatic analysis I do today. In opera, you have to layer that dramatic acting on top of rigorous vocal technique and singing in multiple languages like Italian, German, or French.

Speaking of languages, how have you found navigating all those additional languages? Is it something you learn as you go?

It is a big undertaking. My mom speaks fluent Italian, and we holidayed there a lot, which gave me a head start. During my undergraduate degree at the Royal Northern College of Music, we had dedicated Italian language lessons and vocal coaching sessions where a language expert would fine-tune our pronunciation. Even in the professional industry, every opera production has a dedicated language coach to ensure every vowel sound is perfect.

You mention constant coaching. Do you still find yourself taking singing lessons today?

Absolutely. Training never ends, you are constantly working on your voice. Because you are the instrument, you can't physically see what your vocal cords are doing. You always need an objective, expert "listening ear" to guide you. I've been in formal training for 11 years now.

It’s very much like being an athlete. A lot of classical musicians read ‘The Inner Game of Tennis’, which is an amazing book about performance mentality. It teaches you how to keep your brain in a calm, focused zone so that doubt doesn't creep in during a live show.

Live performance is beautifully imperfect. If a stage partner forgets a lyric, you have to be ready to adapt dynamically on the spot. That unpredictability keeps the audience on the edge of their seats.

What advice would you give to current pupils who dream of entering the professional music or performing arts industry?

I would encourage students to think of being an ‘artist’ as the central concept and to view the bigger picture. Have multiple strings to your bow. For instance, think about how you can contribute to music education. I teach a few students at home now, and passing on that knowledge is incredibly rewarding. If we don’t keep circling our knowledge back to the younger generation, the art form will fizzle out.

Secondly, don’t be afraid to network and talk to people. I was quite self-deprecating when I left school, but I’ve found a subtle, quiet confidence that works for me. Be down-to-earth and easy to work with. Keep a sense of lightness, humour, and joy in what you do; we aren't doing brain surgery, we are creating art!

Finally, put your blinders on like a racehorse when you go to auditions. I came from a small school in gorgeous East Sussex, and sometimes I wondered if my background gave me enough of the ‘rough and tumble’ needed for a competitive industry. But staying around nurturing, warm people worked for me. Trust your own pace.

If you could look back and speak to your 16-year-old self, what single piece of advice would you give her?

As cringe-inducing as it sounds, I would tell her: "You are going to live the life that you’ve always wanted. It will happen, so try not to worry so much." I would also tell her ‘not to rush’. There is so much time. When I was at university, I used to see peers going off to do incredible things and worry that I was doing something wrong. But everyone blooms at different times. Moving slower protects your vocal health and allows you to absorb things at your own pace. Life happens alongside your career; getting married and having children, all of those personal milestones ultimately enrich your identity and the depth of your work.

From her early days as Mary Poppins on the Prep school stage to commanding the spotlight at the Royal Opera House, Georgia Mae Ellis’s journey is a powerful reminder of where passion, patience, and a nurturing foundation can lead. Her evolution from a hopeful student in East Sussex into an acclaimed mezzo-soprano highlights not just her exceptional vocal talent, but the enduring value of the grounded wisdom she carries with her: to stay kind, protect your own pace, and embrace the joy of the craft. As she continues to grace the world’s elite stages and pass her knowledge down to the next generation, Georgia remains a shining example for current Bede's pupils that with dedication and a quiet confidence, the wildest dreams can indeed become a brilliant reality.