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Sarah Cherlin is so dramatic, quietly technical, & at the same time so mischievous and witty that my long-standing fantasy that some mixture of Kate Bush, Lloyd-Webber, and a goblin would write the perfect Broadway show may actually be coming true. This is fabulous songwriting!
The Underground Stage
Swept up in the spectacle & drama she witnessed during Nabucco, (or was it La Traviata?) when in primary school, Sydney based singer songwriter Sarah Cherlin dove into the world of classical music, which laid the foundation for her current folk-come-popera sound.
Influenced by the likes of Kate Miller-Heidke, Regina Spektor, Paul Dempsey and Say Anything, Cherlin's debut EP Small Machines was released in 2020. She is currently working on a second EP, alongside performances in various musicals and operas.
Early 2022 saw the previously postponed Little Women finally come to fruition, with Cherlin in the role of Beth.
Upcoming performances include Barbarina in Le Nozze di Figaro and Flora in Britten’s The Turn of the Screw with Sydney’s newest opera start-up, The Cooperative. She will then join Pacific Opera for their Suor Angelica, in the role of Sister Dolcina.
Cherlin’s debut with the Concordia Ensemble this year saw her sing the title role in Holst's The Wandering Scholar, to be followed by Hans in Werther and First Witch in Dido and Aeneas.
Cherlin will create the role of Sophie this year in Jasper a contemporary reimagining of Charles Dickens' unfinished novel, The Mystery of Edwin Drood.
Sarah Cherlin is basically a peacock,
or whatever the female version of that is.
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