Born in Bromley, southeast London, I began my musical training at the age of 6 by taking up the cello. Whilst still in primary school, I chose the clarinet as my next instrument and then later at the age of 11 added the drums. Playing in ensembles, orchestras and singing in choirs at school and at the Bromley Youth Music Trust (BYMT) very quickly became part of my daily routine. As a teenager I played drums in a band and dabbled in guitar and bass, whenever the urge took me. At the age of 17, with a last-minute change of heart, I applied for musical theatre degrees and then studied for three years at Trinity Laban Conservatoire of Music and Dance in Greenwich.

After graduating and being on the road throughout the UK with Opera and Theatre productions, I decided I’d like to live and work in Germany more and make use of my second native language. I applied to Music Colleges in Germany and was accepted at the HMT “Felix Mendelssohn Bartholdy” Leipzig to study classical voice and then a masters in Opera. Whilst at college and since graduating in 2020 I have had to the opportunity to perform in concerts and productions through Europe and the United States. Growing up in a household with Scottish folk playing in one room, dixieland jazz in the second and 80s new romantic in yet another room, has made the desire to work in as many genres as possible, a very natural one. I have worked in a number of different styles/genres outside of the classical sphere, including crossover concerts as a soloist and backing singer with such artists as, Procol Harum, Supertramp and Eric Bazilian (The Hooters).

Since 2016 I have been a member of the vocal ensemble Ensemble Nobiles. Not coming from a boys choir background and having sought out very little choral work during my studies, joining the ensemble pushed me to improve my skills, fast. It is with the ensemble, taking part in the competition at the Tampere Vocal Festival, where I first met Michael.

For a long time, the only vocal music I listened to was Anúna, having been a fan of Riverdance as a child, wearing out the CD and VHS tape I had and having taken Irish dancing classes. I only became aware of the extensive repertoire Anúna had, years later. The timing of my audition tape was perfect: March 2020. I nevertheless took every opportunity to remind Michael of my presence.

After a quick word in Piper’s Corner, Dublin, Michael had procured me a couple of tickets for the concert in the Peterskirche, Leipzig in April 2022. After this concert and a hefty meal, I was asked if I would like to sing in the final concert of the A cappella Festival, two days later. After initially not being sure if this question was a serious one, the next morning I had the music to learn, with a vague idea of which pieces were more likely to be sung than others. I spent the car journey on the Friday, to and from another concert, learning the music and then the next day, the day of the concert, in the spa of the hotel rehearsing with everyone else. I am sure that the ethos of Anúna made this baptism by fire of mine far less stressful than it could have been. Everyone’s ability to adapt, knowing exactly what they had to do, allowed me to just enjoy the work.

It also brings me great pleasure being part of a group that is doing a tremendous amount to promote the Irish language and Irish and Gaelic Culture through the universal medium of Story Telling. I am looking forward to getting the chance to tell many more stories to as many as will listen.

Benjamin Mahns-Mardy