Born in Leeds of Polish-English parentage, Serenna Wagner studied music and English at Birmingham University where she studied singing with Julian Pike and piano with Beryl Chempin. She subsequently trained at the Royal Northern College of Music where she received a distinction in her Postgraduate Performance Diploma and recently graduated with distinction and merit in her Masters Degree under the tutelage of Susan Roper.

At the RNCM she took part in a number of productions and performed the rôles of the Governess The Turn of the Screw; Rachel Lockhart Dr Heidegger’s Fountain of Youth and principal rôles in excerpts from Fidelio, Peter Grimes and Mary Queen of Scots. Serenna also participated in a number of concert performances, most notably as the soprano soloist in Brahms and Mozart Requiems. During the 2003 Cheltenham Festival Serenna appeared in Stravinsky’s Cantata with Emma Kirkby and James Gilchrist, a performance that was subsequently broadcast on Radio 3.

Serenna’s other operatic experience has included the Countess in Day of Madness, a modern-day adaptation of The Marriage of Figaro, a rôle she sang at the Barber Institute as part of the Birmingham University Festival Opera; Dido Dido and Aeneas performed with the Golden Valley Singers in Hereford and again at Preston Opera last season. She also sang Second Lady Die Zauberflöte for Opera by Definition and more recently performed the role of Mařenka in The Bartered Bride. As a chorus member Serenna has sung in the UK première of Louis Andriessen’s setting of the Dutch De Materie as well as The Queen of Spades, Threepenny Opera and Falstaff with British Youth Opera. In the musical theatre she has performed Adèle Die Fledermaus, Bessie Throckmorton Merrie England, Young Heidi Follies, and Yum-Yum The Mikado.

Serenna particularly enjoys oratorio singing and previous engagements have included Handel Messiah, Mendelssohn Elijah, Mozart Exsultate jubilate, Vesperae solennes de confessores and C Minor Mass, Vivaldi Gloria, Pergolesi Stabat Mater, Haydn Creation, Nelson Mass and Seasons, Schubert Mass in G, Charpentier Messe de Minuit and Fauré Requiem. She has frequently appeared on the concert platform where the repertoire has tended to reflect Serenna’s special interest in Slavonic repertoire. She was a soloist in Janaček’s Zápisník zmizelého (The Diary of One Who Vanished) with the Hallé Orchestra at the Bridgewater Hall last year. She has performed Stravinsky’s Four Russian Songs, Mussorgsky’s Nursery song cycle, Szymanowski’s Lullabies and Tatyana’s Letter Scene in the original languages. She recently appeared as a guest artist on board a Swan Hellenic cruise tour of the Middle East in March and she has been engaged to sing on three further cruises next year. Other plans include Fauré Requeim in September, Handel Messiah in Falaise, Normandy in December and the role of Mimi for Pendle Opera in March.