British soprano Charlotte Du-Cann is a student of Sarah Pring, and is currently studying her masters degree in Vocal Studies at the Guildhall School of Music & Drama. She was awarded Joint First-Prize at the Dean & Chadlington Singing Competition in July 2025, and recently performed as a finalist in the Chris Treglown Foundation Fund Singing Competition in April 2026. Charlotte is supported by Help Musicians (Sybil Tutton Opera Awards), the Sir Richard Stapley Educational Trust, The Friends of Music in Winchester, and the Josephine Baker Trust. 

Charlotte is currently performing with the Waterperry Opera Festival as part of their Quintet Chorus in Donizetti’s The Elixir of Love, in a new English translation.  Recently, Charlotte has performed the roles of Musetta in Puccini's La bohème, and Servillia in Mozart's La Clemenza di Tito in Guildhall Opera Scenes in March 2026, as well as performing in the chorus for Guildhall’s Autumn Opera production of Ethyl Smyth’s Der Wald in November 2025. She is an alumni of the Morley Opera School in London, with performed roles including Tytania from Britten’s A Midsummer Night’s Dream, Martha from Flotow’s Martha, Calisto from Cavalli’s La Calisto, Flora from Britten’s The Turn of the Screw, L’Apprentie from Charpentier’s Louise, and Une Pastourelle  from Ravel’s L’enfant. She was also a member of the chorus for Mozart’s La Clemenza di Tito, Rossini’s Le Comte Ory, and Handel’s Serse. 

​Charlotte has recently performed as part of the Dean and Chadlington Summer Music Festival in the Cotswolds, where she performed a varied programme of arias, duets, art song, and musical theatre repertoire. In the spring, she performed as part of a Contemporary Song Showcase led by Iain Burnside, and has given multiple recitals, including Debussy’s Ariettes oubliées, in Winchester Cathedral as part of their recital series.
 
She achieved a first-class degree in music from the University of Bristol, specialising in performance. Alongside her studies, she made her operatic debut as the Queen of the Night in Mozart’s Die Zauberflöte, and went on to perform the roles of Phyllis in G&S’s Iolanthe, and Ida in J. Strauss’ Die Fledermaus, as part of the Bristol University Operatic Society. She balanced her performance commitments with novel academic research into the character and music of Ophélie in Ambroise Thomas’s opera, Hamlet, specifically focusing on her ‘mad’ scene under a feminist lens.