The mezzo-soprano Lily Mo Browne won WordSong’s Patricia Routledge English Song Prize in 2024, and then went on to win the prestigious Kathleen Ferrier competition in 2025. We are watching and supporting her progress with great excitement!
In November 2025 Lynda Morgan had the following conversation with her. 
When did you first realise you’d got a great voice and know you wanted to be a professional singer?
Well, I’ve always been a keen singer and performer. I started singing around 5/6, and was constantly singing and performing in choirs, musical theatre weekend workshops, and just around the house! My parents were very supportive of me pursuing any hobby that was creative, so I was allowed to experiment with what took my fancy. At 14, I started seriously attending choirs, piano and singing lessons, and it just seemed to stick. Choosing a career in opera is not an easy choice, especially in the UK, and it takes a significant level of courage, hunger and self-belief to dive head-first into it. The last few years have been incredibly exciting and influential, and I have been able to cement my love for this artform, and my voice as an entity. My own self-confidence has not been linear, and it has taken a long time to trust myself, my voice, my technique and my own ability. Nothing is perfect, but I finally feel and trust that I am good enough; good enough to compete, to perform at the highest level I can, and to follow my passion.
Did you ever think about doing anything else instead of singing?
As it often does, performing became more of a hobby in favour of something more ‘practical’ – at 11 I either wanted to be prime minister or a brain surgeon! I tentatively attempted to bring up the idea of doing a history degree instead of joining a conservatoire, to which my singing teacher at the time said: ‘I feel it in my waters, you will be a great singer.’ The past few years have allowed becoming an opera singer to feel like a reality, rather than a pipe dream. I can’t picture myself doing anything else. My plan B, if I had to pick, would be to become an opera director- hardly a complete gear shift! One day, when I’m retired, I would love to return to my hospitality roots, and own a pub. Tell me about your training so far. Well, I was lucky to have very musical parents. Although they weren’t classical musicians, there was always jazz, world music, samba and disco being played throughout the house. They encouraged me to pursue singing and piano lessons. I spent 7 years working with my first teacher, who encouraged me (and the rest of her 60-odd students) into youth opera productions, choirs, grades and, eventually, conservatoire. I then spent 6 years at the RCM, which really solidified my knowledge and love for opera and classical music. The amount of talent, history and wisdom that has passed through that building is inspiring. My current teacher, Ben Johnson, has been revolutionary in my approach to my own voice, technique, work-ethic, and creativity. He helped me raise my own standards, push and challenge myself, but also instilled a new level of real, evidence-based confidence that I am so grateful for. I am now at the National Opera Studio, which is the perfect blend of high-level professional training and preparation for the intensity of the ‘outside world’, and personal development, surrounded by a great bunch of musicians.
Stephen Varcoe worked with you at the RCM during lockdown, and he’s interested to know what your experience of online teaching was like during a really difficult period for students.
The pandemic was an incredibly challenging time. We went into lockdown in my first year at the RCM. I had just about settled into university life, when suddenly it was snatched away. I guess I was lucky. I had only just started my time at the RCM, whereas others did full degrees online, or were graduating into an uncertain world, in which opera had to fight for its right to exist during and post COVID-19. Stephen and I first met on Zoom, as his classes were entirely online for the first few terms! We can sometimes take for granted the pleasure that is hearing music-making live. Suddenly, being in the same room as your teacher, peers and pianist seemed like a great luxury that we all desperately wanted to get back. Pianists would make backing tracks of our repertoire, we would send audio clips back and forth, and desperately ask for more time to breathe in bars 14, 45 and 106. Having to work like this put into perspective how important persistency is, and how collaborative the process of making art and music really is. I have a deep respect for the vast number of online projects, concerts and recitals that helped to fill the void during that time, but frankly, I hope I never have to do one again. I am so glad we are now out the other side, and music-making has become collaborative again.
What led you to enter the WordSong Patricia Routledge English Song Competition?
At the time, I had not competed in many competitions and had never really considered them as something I would excel at. I decided to challenge myself and enter as many competitions as I could – mainly to build confidence that I could actually compete in one! Ayane my accompanist and I developed a programme centred around C.V. Stanford and his influence over English song and poetry, and had recently placed 2nd in another English song prize with it. We were completely over the moon to progress, and even more thrilled to both walk away as prize-winners. Also, a huge shout out to Ayane for her wonderful playing. We had only met 2 months before in a panic to replace a pianist, and I am so grateful we have developed such a great understanding, love and trust for one another as friends and colleagues. As a side note, I am a huge fan of Dame Patricia, and she was and is a huge inspiration to me. After the competition, she sent me an email, which I shall treasure for as long as I live.
What were the challenges of that competition, and what did you gain from doing it?
I think a main challenge is the programming. The entire programme should have a flow, pace and organic feel to it, full of development, reflection, drama and energy. Good programming is an art and not often regarded or taught in conservatoire. I would advise any young duo to really go digging for repertoire, and make interesting, thoughtful and original decisions. Not only will you walk away with a greater and more thoughtful programme that you are clearly invested in, but from an audience or panel’s perspective, it is far more interesting to be brought new and exciting repertoire that you can colour and shape in your own way, rather than being compared to the great singers of the past’s famous recordings of the standards. Many members of WordSong have supported me since my win in 2024. It is always so amazing to see friendly faces in the audience, and to know that they are watching my development and career closely and with a great deal of love.
How did it feel doing the prestigious Ferrier competition? James Gilchrist tells me you did a concert with him the night before the Ferrier! That must have taken some nerve. Many singers would just be concentrating on the competition! Was it then difficult to gear yourself up and have the energy for such an important competition?
The Ferrier was crazy. It had been something I had followed for years and always felt like a distant milestone. Having won prizes in a few competitions the previous year, Ayane and I decided to apply and kept our fingers crossed. We were adventurous with our repertoire and chose things we both knew would suit my voice, and our partnership. We even brought back a WordSong favourite with Stanford’s La Belle Dame Sans Merci. Yes, I performed in a concert the evening between the semi and the final back in April! I was singing in a fundraising event for the Somerset Song Prize, which I had won the previous year. Ayane and I had prepared so much for the Ferrier that there was no need for last-minute rehearsals, panicked phone calls or a stressful evening. We knew our music, we knew how to perform it, the only thing to do was stand on the stage of the Wigmore Hall and deliver. The concert the day before was also a good reminder of what the career holds. There will be times where, even if you want to focus entirely on one thing, we still have other commitments. It gave me a chance to stay grounded – “Yes, I have the Ferrier Final tomorrow, but I also have this important concert tonight, so just get on with it, that’s the life you chose, and you wouldn’t have it any other way.”
You obviously have a voice that is great for opera, but do you think Art Song is an important part of your musical life? Will you continue to do song recitals?
I love opera, but I could not imagine a career without song, melodie, lieder and oratorio. These things are incredibly important to me, and I hope they will play a large part in my career. For a lower and potentially more dramatic voice like mine, the operatic repertoire will likely take real shape later in my career, and so for now, song recitals and art song are my bread and butter. I hope to continue to learn how to best programme for my voice, and to find more exciting repertoire to delve into. Was Song an important part of the curriculum during your training, or was the focus more on opera? In my experience, conservatoires tend to favour the song repertoire over operatic. Song is often seen as the ‘easier’ and ‘lighter’ choice for young singers, and is often sung, although very aesthetically, with little to no true technical understanding. It is a great injustice and misconception that song cannot be sung with great operatic technique. Technique should be the basis of any singing, song or opera. It helps to inform, colour and add meaning and emotion to the words and music on the page, far more than simply ‘feeling it’. Bellini, Donizetti, Wagner, Verdi and Puccini all wrote songs, with the hope that the technique used in their operas would be implemented in these also. With a greater level of technical awareness of one’s instrument, you have an even greater access to the colours, effects and sounds that can be made in song.
What are the different challenges between performing in opera and presenting a song recital?
Both are completely different beasts, and both challenging. In opera productions, (whether starting from the ground up or having three weeks to stage a revival) you are at the whim of other creatives in the room. Your extensive ideas on a character, their motivation, staging etc. are subject to the wishes of the director, conductor, designer etc. In many rehearsal rooms, your ideas will not trump others. This is not to say that this is a bad thing. The collaborative process is made up of more people and voices, and you as an actor are to follow the wishes of these people, the librettist and the composer. In my experience, there is room for much more expansive and varied discussion when it comes to the development of a song recital. The collaborative relationship within it is much more intimate. Often it involves you, your pianist, the composer and poet. There is a different level of flexibility, intimacy and individual creativity when working with a pianist, over a full orchestra. Both, however, should be prepared with the same amount of care and detail. As I mentioned earlier, one’s technical approach should remain the same to ensure that the singing helps inform the words, story and intention.
WordSong is obviously dedicated to song, and I spend a lot of time going to song recitals at the Wigmore Hall, so I’m passionate about it personally too. How do you think we can make song a more mainstream part of musical life?
I think we must demand more of those in power to ensure that music, drama and the creative arts are made a priority. Growing up in a fairly deprived part of East London, I was exposed to a handful of passionate teachers throughout my schooling that encouraged us to make creative choices. Violent cuts to music centre funding, the arts at a primary level and years of austerity are crippling the arts across the county. It is vital that a love and appreciation for creativity is manifested in our youth, so that it becomes accessible to all, not just those with access to private tutors, family ties and expensive concert tickets. As the next generation, we must not allow the ladder to be pulled up behind us. Classical music, opera and song can remain relevant by making smart and creative choices, the maintenance of high standards of education across all ages for the next generation of audiences and performers, and ensuring that above all, music and creativity remain a priority.
WordSong is obviously about singing in the English language. Do you think it’s important to promote singing in English?
I think it is incredibly important to sing in English. From an artistic perspective, the English languages hold some of the greatest works of poetry, prose and stories in the canon, and many are inspirational and important pieces of literature. There is a reason why so much of the international operatic and song repertoire harkens back to Shakespeare, Burns and Hardy to name a few. At a time where there may not be much of our history to be proud of, these stories are things to hold dear and be impassioned and inspired by. As a born and bred Londoner, it is always a thrill to see the countryside, and know that Vaughan Williams, Finzi and Quilter were also thrilled and inspired by it. Singing in English also helps to maintain an audience and creates an instant connection between you and them.
You’re probably excited to be exploring all sorts of repertoire, but do you have any particular favourite composers/types of music at the moment? It might seem like a bit of a cop out, but my favourite opera tends to be the opera I am working on at the time! I listen to so much classical music, but at the moment, I’m really into Brahms, Elgar and Wagner, especially his overtures – they’ve definitely pumped me up before auditions recently! I’ll always have a love for Soukos, a form of Congolese dance music, Paul Simon, Lady Gaga, Charli XCX and Cass Elliot. Any music you can dance to is my favourite.
Your musical life must fill most of your time, but what about other things? When you’re not learning and performing music what else do you like to do?
sI am lucky to have a few groups of great friends and ‘judies’, and although we are all busy people, it is important that I prioritise spending time with them – as an extrovert, my battery is recharged with them around. I see their shows, we chat singing and life, and eat good food and drink good wine together. Whenever I get the chance, I love to spend the day cooking, knitting or catching up on a film. I love to dance and flail around; it’s incredibly liberating. I have also spent a lot of time working in pubs and bars, and occasionally do like doing the odd shift to remind myself how to pour a pint.
