Lesley-Jane’s wide-ranging vocal skills are reflected in the variety of concert work and recordings she undertakes. The following audio selection aims to show some of these different qualities: her full, lyric voice can be heard in the Strauss songs, while her agility and spontaneous baroque ornamentation can be found in the Pepusch cantata. Fauré's Requiem demonstrates a “standard repertory” piece, whilst the Finnissy shows the ease with which Lesley-Jane navigates acrobatic vocal leaps and complex rhythms. The Berio Sequenza, a tour de force of extended vocal technique, exemplifies Lesley-Jane’s commitment to new music and her phenomenal vocal stamina. Finally, Bliss’s The Buckle will hopefully bring a wry smile to your face - a testament to Lesley-Jane’s characterisation ability.

You can also listen to a track from Lesley-Jane's new CD (Sonnets, Airs & Dances by Philip Wood) on the product page here and from her John McCabe CD, Requiem Sequence and Other Works here

 Strauss 'Four Last Songs': Frühling, September, Beim Schlafengehen, Im Abendrot
LIVE - Sunday 21 May 2006, Peter Lipari, conductor; West Suburban Symphony Orchestra, Chicago

Strauss - Morgen
LIVE - Sunday 21 May 2006, Peter Lipari, conductor; West Suburban Symphony Orchestra, Chicago

Berio - Sequenza III
LIVE - Saturday 16 July 2011, Myles Eastwood, recording engineer, Robinson College Chapel, Cambridge 

Fauré ‘Requiem’ - Pie Jesu 
LIVE - Saturday 17 June 2006 Paul Robinson, conductor; Chanctonbury Orchestra, Steyning

Michael Finnissy ‘Favourite Poets’ - Proud Music extract [Première]
LIVE - Saturday 17 June 2006 Siobhan Denning, conductor; Chanctonbury Orchestra, Steyning 

Bliss - The Buckle
Christopher Ross, piano, CD - ‘The Soprano Sings English Song’  

Pepusch - Cantata ‘When love’s soft passion’ - Recit: The God of love who heard my pray’r, Aria: Why should I love?
LIVE - Wednesday 14 June 2006 John Turner, recorder; Jonathan Price, cello; Jonathan Bielby, harpsichord; Händel-Haus, Halle