This month we welcome Alison McNeill to Opera North as she takes on the role of Youth Chorus Master, working with the Opera North Children’s Chorus, Young Voices and Youth Chorus.
As a trailblazing Scottish artist whose work blurs the boundaries between classical, folk and world music and with a host of talents including singing, conducting and fiddle playing, we were keen to discover what route had led Alison to apply for Opera North and what her plans are for the company’s young singers.
Alison McNeill, Opera North's new Youth Chorus Master
Where did you begin your musical career?
As a youngster, I studied at the RSAMD (Royal Conservatoire of Scotland) Junior department and as a first study violinist and singer in RSNO (Royal Scottish National Orchestra) Junior Chorus and NYCOS (National Youth Choir of Scotland), with performances at the Edinburgh International Festival and tours to Chicago to sing pieces such as Belshazzar’s Feast and the Britten War Requiem under Christopher Bell. Alongside classical music, I learnt traditional fiddle on the island of Islay.
I graduated from the Royal Conservatoire of Scotland, where I completed a Master’s degree in Performance, before travelling to Spain to study with the late great mezzo soprano Teresa Berganza. That period was hugely formative for me musically and personally. Spanish Song has become a real specialism, and I’ve been fortunate to premiere works by leading Spanish composers such as Antón García Abril and Teresa Bretal at venues including the National Auditorium of Galicia, Manuel de Falla Auditorium and the Atheneum in Madrid. At that time, I won the Andrés Segovia Prize for Spanish Song in Spain, becoming the only non-native speaker ever to receive the award.
The ONYC perform The Runaway Royal at Leeds Grand Theatre. Photography by Tom Arber
Your CV suggests you’ve been a bit of a globetrotter. Please tell us more!
My career has taken me to Denmark, the Netherlands, Spain, Italy, Germany, Austria, Japan, Qatar, Pakistan, Kenya, the USA and Mexico, as well as places all across the UK.
Alongside my classical work, I’ve headlined international festivals with folk-rock band Reely Jiggered, which has been an exciting way to explore different cultures and musical languages. Last year, we performed at New York Tartan Week at Sony Hall and Club Cummings, and later travelled to Nairobi, Kenya, where we performed and delivered workshops at Still I Rise School, an independent humanitarian organisation providing world-class education to refugee and vulnerable children.
I’ve also performed in Pakistan on four occasions. In 2025, we were able to invite Pakistani sitar player Rakae Jamil to join us on the Glasgow Mela Festival main stage. This collaboration led me to transcribe and learn repertoire in Urdu, Farsi and Hindi, performing alongside Indian dancers. I love how travel continually reshapes the way I think about music-making and collaboration.
The Secret of the Black Spider performed by the Opera North Youth Company at Leeds Grand Theatre. Photography by Tom Arber
What drew you to the job at Opera North?
Opera North is an ambitious, daring company with real scope to try new things, alongside a reputation for artistic excellence and a commitment to nurturing young talent. That combination aligns strongly with my own values. I’ve spent much of my career working with choirs and singers including NYCOS National Boys Choir, RSNO Youth Choruses, and National Youth Choir of Northern Ireland Junior Choir, as well as adult choruses and orchestras. The opportunity to bring that experience into such a bold creative environment was incredibly appealing.
Throughout my career, I’ve loved collaborating with other art forms – exploring new ways to tell stories and make meaningful connections with audiences. At a time when it feels especially important to reconnect with existing audiences and attract new ones. I was particularly drawn to Opera North’s collaborative ethos and cross-artform work, including its integration of dance, visual storytelling and genre-blending projects. The chance to work within this organisation with such talented young singers felt like a perfect fit.
Why do you particularly like working with young people?
Young singers bring an openness, imagination and energy that is inspiring and fun. I love helping them discover what their voices can do and watching their confidence grow as individuals and as an ensemble.
I’m passionate about creating rehearsal spaces that are rigorous but also joyful and inclusive, where young people feel challenged, supported and free to explore. Whether singers go on to professional careers or simply carry music with them through life, those formative experiences can be incredibly powerful.
Opera North Young Voices. Photography by Justin Slee
What are you most looking forward to in this role?
I’m really excited about coaching singers for mainstage productions, particularly within a company whose work is so highly acclaimed. Being part of an organisation that pushes boundaries, embraces new ideas and continually finds fresh ways of engaging audiences is incredibly inspiring.
I’m looking forward to developing ambitious and imaginative projects for the Youth Chorus and Young Voices. I would love for these ensembles not only to perform at Opera North, but to be deeply embedded in the cultural life of Leeds making full use of the city’s extraordinary venues, festivals and public spaces. I feel hugely lucky to be working with such a fantastic team of staff who are helping turn these aspirations into reality.
