I grew up in Manchester, the daughter of a university lecturer from Lugo, Galicia, and a Derbyshire-born teacher and historian, who instilled in me a strong work ethic and practical mindset. Despite my dad's love of classical music, it’s unlikely I’d have become a musician without being part of the many free music hubs available to me as a child. It was by chance that I became a chorister at Manchester Cathedral when I was eight, securing a scholarship to Chetham’s School of Music.

At twelve, I returned to state education, joining the Hallé Youth Choir and Orchestra, along with several string quartets and choirs, Manchester Youth String Orchestra, and Manchester Soul Band. I studied violin and piano, wrote my first compositions, and, in sixth form, sang with Manchester University ensembles and performed in my first operas.

Many grassroots ensembles persist despite dwindling funding, often depending on the extraordinary musicians who lead them accepting criminally low fees. Their dedication is a powerful reminder that this country’s rich musical heritage is worth investing in. Advanced choirs and orchestras now increasingly draw from students who have had years of expensive private lessons; an onerous prerequisite, particularly for instrumentalists, who must start young. Beyond training musicians, fostering curiosity and appreciation for classical music is vital to sustaining and growing audiences.

Emerging artists also face mounting challenges. The loss of freedom of movement has made securing funding for tours and international collaborations complicated. Even with my dual citizenship, European ensembles, understandably, are hesitant to hire UK-based musicians due to tax burdens and bureaucracy. Meanwhile, the politicisation of the arts has left only one major party actively advocating for cultural investment or taking meaningful steps to protect artists’ intellectual property from AI. With the already meagre trickle of money to emerging musicians becoming pinched, and many 'aging out' of certain schemes before graduating, numerous gifted artists have left the profession entirely.

So, I’ve decided to make a change: at the end of 2025, I’ll be packing my bags and moving to Madrid with my (Scottish, musician) husband. Why Madrid? Beyond its cosmopolitan beauty and 300 days of sunshine, it boasts a thriving musical scene, world-class concert halls, theatres, and an internationally renowned opera house; an inspiring place to set down roots. Being fiscally based in Spain also makes us far more attractive as prospective artists to European companies and organisations. As someone who is bilingual but has never lived in Spain, I’m eager to embrace my heritage, be closer to my family in Madrid, Galicia, and Córdoba, and build new collaborations alongside the wonderful ongoing projects I have in the UK; I am deeply proud of the vibrant community I am part of here, and thankful I’ll be shuttling back and forth for work in the next few seasons. Nevertheless, artists must adapt to changing circumstances. For me, that means embarking on this next chapter in Madrid, where I will continue to grow, explore, and chart new waters.

Before I go, one of the upcoming projects I am most proud of is the release of HABANERA, with wonderful Roderick Williams (who, unbeknownst to many, played the cello growing up and makes a guest appearance as ‘Cello 8’) and The Endellion Cellists. Recording this CD with the team at SOMM has been a privilege. Alongside Bachianas Brasileiras No. 5 by Villa-Lobos, and a few of my own arrangements, Roddy has masterfully reimagined much of the album for my voice and eight cellos, creating a rich, electrifying sound. It’s a celebration of Spanish, Latin American, and diaspora repertoire. I can’t wait for listeners to experience the magic we’ve created.

Habanera, Music for Eight Cellos and Voice with Ana Beard Fernández, Roderick Williams, Iain Hall, the Endellion Cellists and conductor William Vann is out on March 14 on the SOMM label:

https://listn.fm/habanera/