Australia punches well above its weight in opera. For a country of 27 million people, we’ve produced an extraordinary number of world-class singers — from Nellie Melba and Joan Sutherland to the current generation making waves on international stages.

Every year I put together a list of Australian singers I think are worth paying close attention to. These aren’t necessarily the biggest names (though some are getting there). They’re the singers who, based on what I’ve heard and what’s coming up in their schedules, are poised for significant moments in 2026.

Here are my six.

1. Sienna Leal, Mezzo-Soprano

I first heard Sienna Leal in a young artist recital a few years ago and wrote in my notebook: “Remember this name.” She has a mezzo voice of unusual richness — warm and dark in the lower register, with a brightness up top that cuts through without ever sounding forced.

What sets her apart is her stage presence. She has a stillness that draws the eye, and when she moves, it means something. Her Carmen for a small Sydney company in 2024 was, frankly, the most convincing I’ve seen from an Australian singer in years. Not the biggest voice in the role, but the most complete performance.

She’s singing with Opera Australia this year in a role I’m not allowed to announce, but I can say it’s a perfect fit. Watch for her.

2. Daniel Kwon, Tenor

The lyric tenor space is brutally competitive, and Daniel Kwon is navigating it with impressive intelligence. Korean-Australian, trained at the Sydney Conservatorium and then in Italy, he has a voice that’s all elegance — clean, focused, with a top that opens up beautifully under pressure.

What I admire about his career trajectory is his patience. He hasn’t rushed into heavy roles too soon, which is the mistake that ends a lot of tenor careers early. He’s building steadily, and his recent Alfredo in La Traviata showed a singer coming into full maturity.

International engagements are starting to come. I’d bet good money he’ll be on a major European stage within two years.

3. Talia Marsden, Soprano

Sometimes a voice just stops you. Talia Marsden has one of those voices. A spinto soprano with the power for Puccini and the agility for Mozart — that’s a rare combination. She came through the Victorian Opera young artist program and has been building a reputation in Melbourne and beyond.

Her Mimì last year was extraordinary. The Act III scene was so emotionally raw that I forgot I was watching a performance and found myself genuinely distressed. That’s the highest compliment I can pay a singer.

She’s got several exciting engagements lined up for 2026, including work with Opera Queensland that should introduce her to new audiences. If you get a chance to hear her live, take it.

4. Marcus Alofa, Bass-Baritone

We don’t talk enough about Australian bass-baritones, which is a shame because we produce excellent ones. Marcus Alofa is among the best of the emerging generation. Samoan-Australian, with a voice that has genuine weight and a warmth that keeps it human even at full volume.

His Escamillo was commanding, his Figaro was genuinely funny, and a concert performance of Mussorgsky’s Boris Godunov excerpts hinted at where his voice might go as it continues to develop. The lower extension is remarkable — he has notes down there that you feel in your chest.

Beyond the voice, he’s a thoughtful artist who’s spoken publicly about representation in opera and the importance of Pacific Islander voices in Australian classical music. The art form is richer for his presence in it.

5. Eliza Whitfield, Soprano

Eliza Whitfield is the kind of singer who makes you believe in the future of contemporary opera. She’s built a reputation as an interpreter of new works — premiering pieces by Australian composers, commissioning song cycles, and bringing the same commitment to a world premiere that other singers reserve for Verdi.

Her voice is clear, flexible, and fearless. She can navigate complex contemporary scores with apparent ease and then turn around and deliver a Handel aria that’s pure beauty. That versatility is increasingly valuable as companies program more diverse seasons.

She also has a terrific Instagram presence that’s helping demystify the life of a working opera singer for a broader audience. The behind-the-scenes rehearsal content is genuinely engaging.

6. James Nguyen, Baritone

Vietnamese-Australian baritone James Nguyen has been on my radar since he won a major vocal competition two years ago, and his trajectory since has been steep. He has a classic Verdi baritone voice — dark, powerful, with a nobility of tone that suits the great Verdi roles — and he’s just entering the age range where those roles become available.

His Don Giovanni last year was revelatory. Not the suave seducer interpretation you usually see, but something more dangerous and more interesting — a Giovanni driven by compulsion rather than charm. The vocal performance was flawless, but it was the interpretive boldness that stayed with me.

He’s been offered his first European engagement for later this year. I’m watching his career with enormous interest.

The Bigger Picture

What strikes me about this list is its diversity — in vocal type, in background, in artistic approach. These aren’t six singers following the same path. They’re six individual artists bringing different perspectives and different strengths to an art form that needs all of them.

Australia’s opera infrastructure — the conservatoriums, the young artist programs, the state companies, the small independent producers — is producing talent at a remarkable rate. The challenge, as always, is sustaining careers. International opportunities are essential for development, but we also need to create enough work at home to keep these singers connected to the Australian scene.

If you can hear any of these six in person this year, do it. You’ll be telling people you saw them before they were famous.

And if I’ve missed someone who should be on this list — and I’m sure I have — come find me on social media and argue about it. I love a good opera argument.