Margaret Preece

… a unique talent. A richly gifted actress with a wide range, from wild comedy to sensitive drama, coupled with an exquisite singing voice… A total joy to work with. Joel Schumacher, Film Director)

… the real highlight is the wonderful Margaret Preece…(The Stage, 2012)

Margaret Preece’s “Climb Every Mountain” is worth the admission price alone and her Mother Abbess becomes a pivotal part of the show’s success due to her spine-chilling vocals. (What’s On Stage)

Margaret is an acclaimed international vocalist and actress. After training at the Royal Scottish Academy of Music and Dramatic Art and the National Opera Studio, winning the John Scott and Peter Stuyvessant Foundation Awards, she established herself as a versatile and highly respected artist. She has performed many diverse leading roles for principal opera companies (English National Opera, Opera North, Scottish Opera, English Touring Opera and Carl Rosa to name but a few) including Musetta in Puccini’s La Boheme; Adina in Donizetti’s L’Elisir D’Amore; Alice Ford in Verdi’s Falstaff; The Queen of the Night in Mozart’s The Magic Flute; Fiordiligi and Despina in Mozart’s Cosi Fan Tutte; The Vixen in Janacek’s The Cunning Little Vixen; Rosalinda in Johann Strauss’s Die Fledermaus; Hanna Glawari in Lehar’s The Merry Widow and many, many  more.

She has a great rapport and love for musical theatre, playing Susan Cooper in Kurt Weill’s Love Life; Mary Turner in Gershwin’s Of Thee I Sing! and Vava in Shostakovich’s Paradise Moscow (in David Pountney’s lively production for Opera North and for the Bregenz Festival).

She was chosen by Sir Peter Hall for his production of Bacchai at the Royal National Theatre (The Olivier) and in Epidaurus. She played Carlotta at Her Majesty’s Theatre in London’s West End in Andrew Lloyd Webber’s award-winning production of The Phantom of the Opera for 18 months, and went on to sing the entire role for Minnie Driver in Joel Schumacher’s feature film of the musical in 2005, in which she also played the role of The Confidante.

For two and a half years she played The Mother Abbess in the stunning Andrew Lloyd Webber/David Ian production of The Sound of Music, directed by Jeremy Sams, at The London Palladium, and then continued her success with the role on the National Tour of the show, clocking up over 1,000 performances.

In 2011 she played Jean in the UK Tour of Dinner Ladies – Second Helpings, for Comedy Productions Ltd., and featured in a new show produced by The Words and Music Theater Company, celebrating the music of Noel Coward and Ivor Novello, called The Two Most Perfect Things, at The Jermyn Street Theatre in London. In the autumn she created the leading role of Auntie Rose in a heart-warming new musical called Kisses on a Postcard, based on his radio play, by Terence Frisby for North Devon Theatres, and performed in her own show “Rule, Britannia!” celebrating the Queen’s Diamond Jubilee. In 2012 she played Princess Najla in the musical Flahooley at The Lilian Baylis Studio, Sadlers Wells and revived her role in The Two Most Perfect Things at The Riverside Theatre, Hammersmith and at the Edinburgh Fringe. In 2013 she appeared as Mrs. Jones and one of the Nurse-Maids in The Opera Group’s acclaimed production of Kurt Weill’s Street Scene at Theatre du Chatelet, Paris and Teatre del Liceu, Barcelona, and in the autumn, reprised her role as The Mother Abbess, in Amman, Jordan, in a brand new production by J Y Productions Ltd/Irving Street Productions, of The Sound of Music.

Recently Margaret again reprised the role of Mother Abbess in another new production of The Sound of Music in Cairo, and has been performing for most of 2015 at The Pitlochry Festival Theatre, as part of their prestigious repertory company in a number of different roles, including Mam in Alan Bennett’s The Lady in the Van and as Lady Bracknell in Oscar Wilde’s The Importance of Being Earnest.

Maggie, as she is often known, regularly performs in both classical and musical theatre concerts both in this country and abroad, and has also released an album called ‘Isn’t It Romantic?’ featuring seventeen glorious songs by Richard Rodgers and his two main collaborators, Lorenz Hart and Oscar Hammerstein, with original arrangements by Kevin Amos. She also performs this as a cabaret, which was premiered at the Metropolitan Room, New York.