ROSS SCANLON is a highly regarded opera singer and sought-after singing teacher throughout Ireland.
He is training the next generation of performers to the highest standards and takes pride in seeing many of his students gracing stages in the West End and Ireland.
He took time out from rehearsing for his forthcoming role in The Sound of Music at the Cork Opera House to give his views on a range of subjects.
Ross Scanlon stars in The Sound of Music in Cork this summerRoss, you are a man of many talents — a performer and a teacher. Firstly, tell me about your teaching work.
Teaching has been a huge part of my life for many years.
I actually started teaching singing from my parents’ kitchen while I was still in college in Dublin. When I moved to London, I taught at several theatre schools, and after returning home to Ireland I took up my first third-level teaching position at a college in Dublin.
Since then, I’ve had the privilege of teaching at The Lir Academy at Trinity College Dublin, and Cork School of Music.
I’ve recently been a guest tutor at the Royal Irish Academy of Music, specialising in Musical Theatre performance. Alongside my university work, I collaborate with Sing Ireland as a vocal coach and consultant, and over the years I’ve worked with a wide range of choirs, including Dublin Youth Choir and the Dublin Gay Men’s Chorus.
Teaching is something I’m deeply passionate about: helping performers discover confidence in their voice and artistry is incredibly rewarding.
You did your postgraduate training at the Royal Academy of Music — how was that experience?
I absolutely loved my time at the Royal Academy of Music. I was fortunate to receive world-class training from some truly inspiring teachers and coaches.
Initially, I had planned to complete the MA in Performance and then return home to Ireland, but after graduating I was awarded a scholarship to study at the Academy’s prestigious Opera School, where I spent a further two years.
It was a transformative experience both personally and professionally. I made lifelong friends and created memories that I’ll always treasure, including making my debut with the BBC Symphony Orchestra at London’s Barbican Centre, performing Ravel’s L’enfant et les sortilèges. It was an extraordinary chapter of my life.
Do you find it depressing that so many talented young Irish people still head to London to train?
I wouldn’t describe it as depressing — in many ways, I see it as a positive opportunity and an important stepping stone for young performers.
Ireland continues to produce extraordinary talent, and I witness that every day through the students I teach.
While Ireland may not yet have an industry hub on the scale of London’s West End, our training institutions are producing performers of an exceptionally high standard.
Many young artists choose to broaden their horizons abroad, but increasingly we’re seeing them return home with invaluable experience, helping to strengthen the Irish arts sector even further.
Irish performers are on a roll on stage, film and television at the moment — why do you think that is?
I think Ireland has always possessed an extraordinary wealth of talent, but in recent years the quality of training and opportunities available to young performers has reached a remarkable level.
Since joining The Lir Academy five years ago, I’ve seen first-hand the calibre of work being produced there and the incredible success graduates are achieving nationally and internationally.
Of course, talent is only one part of it. Behind every successful performer is an enormous amount of hard work, sacrifice, resilience and dedication.
Irish performers also bring a unique authenticity and emotional honesty to their work, and audiences around the world are connecting with that.
At the moment, whenever I watch a major television drama or go to the theatre, there’s almost always an Irish performer, often a Lir graduate, involved, and that’s something we should all be very proud of.
What are your Irish roots — where did you grow up?
I grew up in the seaside town of Bray in County Wicklow, just south of Dublin.
It’s a beautiful coastal town where I have a large extended family and lifelong friends. I’m the youngest of five, and my parents, Noreen and John, are still living in our family home and I recently bought my first home there with my partner Jason.
Bray gave me a wonderful upbringing and a strong sense of community.
Ross pictured with his granny (Pic: Darragh Carol)What is your earliest memory of going to the theatre?
My earliest theatre memory is going with my grandmother to see a local production of Hello, Dolly!
I remember being completely transported by it. Sitting in the audience, I felt this overwhelming sense of magic and possibility.
When I got home that night, I told my parents that I had discovered what I wanted to do with my life — I wanted to be on stage. It’s funny looking back now because that moment genuinely shaped everything that followed.
Have you seen any stand-out shows recently?
I was in London recently and had the chance to see Stranger Things: The First Shadow in the West End.
It was an extraordinary production — probably the most technically ambitious show I’ve ever seen live on stage.
The special effects and staging were absolutely astonishing.
What made it even more special for me was seeing student and recent graduate of The Lir Academy Aoife Browne performing in the production, which was very special to witness.
Growing up, who inspired you towards a career on stage?
My parents were hugely supportive from the very beginning. I vividly remember watching my mother perform in local Tops of the Town productions, and seeing that joy and creativity on stage definitely had an impact on me.
I was also involved in a local youth theatre group growing up, which gave me incredible opportunities across television and stage and constantly inspired me.
During my school years, I had a wonderfully encouraging music teacher who suggested I begin private singing lessons in Dublin. Those lessons ultimately changed the course of my life.
My teacher, Anne Marie O’Sullivan, encouraged me to pursue voice full-time at DIT Conservatory of Music and Drama in Rathmines, and that was the beginning of my professional training.
Ross is also a tutor (Pic: Seán McMahon)How important is it for young people to get off their phones and into a theatre?
I think it’s incredibly important — not just for young people, but for everyone.
There’s something uniquely powerful about live performance. Whether it’s a play, musical theatre or opera, the shared experience of sitting in an audience and connecting emotionally with a story is something technology simply can’t replace.
Live theatre encourages empathy, imagination and human connection in a way that feels increasingly valuable today.
How do you think the arts are doing in Ireland at the moment?
I think the arts in Ireland are in a very exciting place at the moment.
There’s a thriving theatre and performance scene right across the country, and audiences continue to engage strongly with live work.
Of course, the arts sector always faces challenges around funding and sustainability, but creatively there is an enormous amount of innovation and talent emerging from Ireland right now, and that’s incredibly encouraging.
The hills will be alive with The Sound of Music in Cork this summer — tell me more.
They certainly will! This summer, Cork Opera House is staging a brand-new production of The Sound of Music throughout July and August, and I’m delighted to be playing the role of Max Detweiler.
It’s shaping up to be a very special production, with a fantastic cast that includes Cork stars and good friends of mine Majella Cullagh and Emma Nash, and I even get to perform with my student from Cork School of Music Andy Lee Armitage.
It’s one of the world’s most beloved musicals, and I think audiences are going to fall in love with it all over again.
The audiences in Cork are very lively, aren’t they?
They really are. I’ve performed in Cork many times throughout my career, and the audiences there are always incredibly warm, enthusiastic and generous.
There’s a genuine love of the arts in Cork, and performers really feel that energy coming from the audience.
If you could play any role in the future, what would it be?
There are still so many roles I’d love to explore.
I think one of the joys of this profession is that there’s always another character or story waiting to challenge you.
If I had my pick I would love to play the role of Dr Henry Jekyll / Mr Edward Hyde in the iconic musical Jekyll & Hyde
For any aspiring performer reading this — what would your advice be?
My advice would be to hold onto your belief in yourself, even during the difficult moments. The performing arts industry can be incredibly demanding, and resilience is essential.
It’s also so important to surround yourself with supportive people — friends, family, teachers and mentors who encourage you and remind you why you started in the first place.
Talent matters, of course, but perseverance, kindness and professionalism are equally important in building a lasting career.
Finally, what is your favourite song from The Sound of Music — the one that will be playing in our heads after reading this?
I would have to say Climb Ev'ry Mountain, which is sung by Mother Abbess at the end of Act I. There’s something incredibly uplifting and timeless about it.
The sentiment behind the song — perseverance, hope and striving towards your dreams — is deeply moving, and musically it’s just glorious to sing.
I’ve performed it many times over the years, including once in a sold-out Echo Arena in Liverpool, which was absolutely terrifying given the song’s iconic status there.
Hopefully I’ll be a little less nervous when I'm singing for audiences in Cork this summer.
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