Benjamin Williamson
Benjamin was a Choral Scholar at King’s College, Cambridge, before training at the Royal College of Music. He won the Nei Stëmmen International Singing Competition in Luxembourg, and operatic roles include Anführer in Toshio Hosokawa’s Erdbeben Träume with Opera Stuttgart, Orphée in Gluck’s Orphée et Eurydice (Orphée) with INSeries, Washington DC, Tolomeo in Handel’s Giulio Cesare with English Touring Opera, and Seraphim 3 in John Adams’ The Gospel According to the Other Mary with Theater Bonn. Concert highlights include Handel’s Brockes Passion with Stephen Cleobury and King’s College Choir on BBC Radio 3, the World Premiere of Jonathan Dove’s Arion and the Dolphin, BWV 74 with Bach Stiftung & Rudolf Lutz, Purcell & Leveridge with Irish Baroque Orchestra in Dublin, Purcell’s The Fairy Queen with Matthew Halls at Wigmore Hall, Bernstein’s Chichester Psalms with Edward Higginbottom in Italy, Purcell’s Hail, Bright Cecilia with Josef Wallnig in St Petersburg and Handel’s Messiah in Poland and Qatar. Further information: www.benjaminwilliamson.com
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Benjamin has over 15 years of experience teaching singing in the UK. He teaches the choristers of both Temple Church, London, and St Albans Cathedral. Many of his adult students have gone on to Music College and are working as professional singers. With CAPS he has organised workshops, masterclasses, online seminars and filmed mock auditions.
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Having been on the journey from choral scholar to opera singer, Benjamin is intimately acquainted with the technical difficulties that arise from the challenge of choral singing. His teaching methodology is holistic, psychological, physical, and scientifically informed. He has attended various courses including 'Training in Classical Voice' with Janice Chapman, 'Exploring Breathing Methodology" with Ron Morris, and 'Tension Release' with the British Voice Association. He is also currently training to become a child and adolescent psychotherapeutic counsellor with the University of Cambridge.​​​
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Paula Sides
Paula studied at the Royal College of Music, where she received the Tagor Gold Medal, presented to her by HRH King Charles III. She has performed Hannah The Merry Widow & Cunegonde Candide for Scottish Opera, Tsaritsa of Shemakha (The Golden Cockerel), Lucrezia (Lucrezia Borgia), Mimì (La bohème), Tosca (Tosca), Lauretta (Gianni Schicchi), Elettra (Idomeneo), Pamina (The Magic Flute), Susanna (Le nozze di Figaro), Despina (Così fan tutte), Agrippina (Agrippina), Calisto (La Calisto), Poppea (L’incoronazione di Poppea) for English Touring Opera (ETO); Donna Anna (Don Giovanni) for Longborough Festival Opera; Eurydice (Orphée et Eurydice) for IN Series Opera, Washington D.C.; Norina (Don Pasquale), Gilda (Rigoletto), Musetta (La bohème) for Preggio Opera Festival, Italy; Giulietta (Un giorno di regno), Thaïs (Thaïs) for Chelsea Opera Group; Emilia (Flavio), Atalanta (Xerxes), Clizia (Teseo), Atalanta (Atalanta) for the London Handel Festival; and Eleonora (L’assedio di Calais) – Armel Opera Festival, Budapest. Further information: www.paulasides.com
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I have been teaching privately for over 10 years and has worked with children from the ages of 6 to adults in there 80's, with a wide range of abilities and experience. I always trying to help each of my students reach their potential and enjoy their love for singing. Singing in a healthy way and always keeping in mind what each student wants to achieve through their singing is of absolute importance; whether it be taking exams or preparing for college auditions; professionals making sure bad habits are not becoming a hinderance to their performing ability; or simply having a great time singing. Every lesson gives a chance for my students to grow in confidence and develop as musicians, performers, and technically secure singers.
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I am also a voice clinic teacher for the NHS. I have been working with Mr Smelt, a ENT voice surgeon as a voice teacher consultant since 2015, assisting the recuperation and rehabilitation of singers who are recovering from vocal damage including vocal strain, nodules, and partial paralysis. This work has been hugely important to my growing knowledge of teaching techniques and methods to ensure healthy singing.