Ella Marchment – artistic director of Helios Collective and director of productions for Constella OperaBallet – has worked on over eighty opera and theatre productions throughout Europe and produced over one hundred events that span opera, ballet, musicals, concerts, theatre, comedy, workshops, club nights, art installations, and development programmes.

In Ella Marchment, I see a director and artistic leader of imagination, assurance and style.
– Bernard Hughes

Ella’s many directing credits include Alexander Goehr’s Tryptich at Mariinsky II, an opera–ballet production of Stravinsky’s Renard, an acclaimed international tour of Sir Peter Maxwell Davies’s Eight Songs For A Mad King, London productions of Verdi’s Macbeth and A Masked Ball, a semi-staging of Puccini’s Il Tabarro at LSO St Luke’s, acclaimed performances of Briar Kit Esme’s Hathaway – Eight Arias For A Bardic Life, Verdi’s Otello, and Charpentier’s Louise at Buxton Festival, and a sell-out West End run of An Evening With Lucian Freud, starring Cressida Bonas. Ella is also co-founder of Theatre N16, a London-based arts company that promotes new plays and opera adaptations.

There is no doubt that Ella will be an important part of the UK and international theatre and opera scene in years to come.
– Kasper Holten, Director of Opera, Royal Opera House

Ella has been employed by numerous organisations, including the Royal Opera House, International Opera, Buxton Festival, Melos Sinfonia, and Opera Integra. She is committed to creating professional development opportunities for young and established artists, as well as to solving the problems that impact on opera’s accessibility and reach. Ella particularly enjoys presenting opera with a twist, having written and directed a play–opera adaptation of Wagner’s Die Meistersinger, staged a rock opera interpretation of Puccini’s Tosca, and set up a series of opera club nights in Peckham.

In 2015 Ella became the first director to receive an International Opera Awards Foundation Bursary. Her work is currently supported by Arts Council England and The British Council Artists International Development Fund, in association with Den Jyske Opera (Danish National Opera).

Tremendously enjoyable and accomplished…what a delightful operatic experience.
– Rupert Christiansen‏ of The Telegraph

Ella’s future engagements include directing Operatic Mass Actions at The International Living Theatre Festival Aarhus, where she is also part of the steering committee, Mad King Suibhne at Bury Court Opera, and Canary Boys with Constella OperaBallet.

You can find out more about Ella in the following interviews:

Or you can subscribe to Ella’s mailing list by clicking here.


Helios Collective


Helios Collective was started on a cold winter’s night in 2012, by artistic director Ella Marchment, with little more than a Facebook group and a logo that had been drawn on a napkin.

Helios is now a trailblazing company that offers opportunities to artists across the opera-performing spectrum. Having toured nationally and internationally, Helios has rapidly earned a reputation for putting on captivating productions and specialising in the promotion of bold new works. The company is committed to being at the forefront of operatic innovation, providing unrivalled professional support to people working in opera and helping them to challenge, revitalise, and promote the genre as a vibrant art form.

Hathaway is simply the most moving production I have ever seen.
– Copenhagen Opera Festival Audience Feedback

In its early years, Helios produced an eclectic array of ambitious events – involving over 1500 of Britain’s most promising artists – ranging from concerts of opera scenes; a song-cycle concert series; masterclasses with leading international practitioners, including Kasper Holten (Director of Opera, the Royal Opera), Stephen Barlow (Artistic Director, Buxton Festival), Stephen Unwin (pre-eminent writer and director), David Parry (award-winning conductor), Robert Saxton (Professor of Composition, Worcester College, University of Oxford), and Bettina Bartz (dramaturg, writer, and director); a UK tour of Walton’s The Bear – along with two new compositions selected following a global competition – to the Rose Theatre Kingston, Sage Gateshead, Edinburgh Festival Fringe, and St Cyprian’s, London; an international tour of Peter Maxwell Davies’s Eight Songs For A Mad King and William Walton’s Façade to the Arcola Theatre, the Rose Theatre Kingston, and the Saint Petersburg Philharmonia, Russia; an opera-ballet double-header of Stravinsky’s Renard and The Soldier’s Tale at the Bloomsbury Theatre, London, and the Swiss Church, Covent Garden; Salon Russe with The National Portrait Gallery and Bury Court Opera; Hathaway – Eight Arias For A Bardic Life at Buxton Festival and Copenhagen Opera Festival, and an operatic club-night series called Toi Toi in London.

Helios’s programming caters for people who appreciate high-quality productions, but who are also looking for new experiences and works that take them beyond the traditional canon. With award-winning directors and designers, graduates from the leading music conservatoires and drama colleges, and highly skilled professional mentors, Helios is a tight-knit operative that inspires artistic excellence in others and encourages people from diverse backgrounds to share and develop their creative talents.

More information about Helios Collective can be found on the company’s website by following this link.

Constella OperaBallet


Constella Ballet & Orchestra was founded in 2011 by conductor Leo Geyer. The company has given over sixty critically acclaimed performances across the UK – including broadcasts on national radio and television – and it has established a reputation for showcasing exceptionally talented artists in exhilarating and experimental productions.

Fun, fizzing, and contemporary.
– Suzy Klein, BBC Radio 3

Constella’s aim is to present music and dance as equals through a synthesis of opera and ballet. In creating rich, diverse, and captivating productions, Constella specialises in producing coherent and compelling dramas that take audiences into thought-provoking and uncharted artistic waters.

In 2015 Helios Collective and Constella staged a double-bill co-production of Stravinsky’s The Soldier’s Tale and Renard at the Bloomsbury Theatre in London, which led to Ella becoming Constella’s director of productions. Today, the company is known as Constella OperaBallet.

More information about Constella OperaBallet can be found on the company’s website by following this link.

Theatre N16


Theatre N16 launched above the White Hart pub in Stoke Newington, London, in May 2015 with a packed programme of original plays and operas. Following the success of its opening season, the theatre moved to a larger venue above the Bedford Pub in Balham, London, in September 2015.

Director Ella Marchment skilfully deals with the shift into seriousness and captures so many heartbreakingly bleak moments well.
– Views From The Gods

Co-founded by Jamie Eastlake and Ella Marchment, Theatre N16 works tirelessly to promote cutting-edge productions across both theatre and opera.

The theatre also provides a supportive and cost-effective space in which visiting companies can showcase their creations to a wide spectrum of London’s theatre-going public and professional critics.

With a growing portfolio of national and international opera-directing commitments, Ella stepped down from her role at Theatre N16 in 2016.

More information about Theatre N16 can be found on the company’s website by following this link.



  • Tremendously enjoyable and accomplished…what a delightful operatic experience.

– Rupert Christiansen‏ of The Telegraph

  • Insanely good…a magical tonic.

Farnham Herald

  • The direction was of a very high order. Ella Marchment clearly has an imagination the size of a planet, but the gravity to hold that in a sensible orbit.

Bury Court Opera Audience Feedback

  • Ella Marchment’s production helped by providing a richly imaginative but non-specific setting which allowed us to concentrate on Suibhne. Marchment and her designer, Holly Piggott, cleverly got over the problems of Suibhne’s ability to fly by making ladders a feature of the multi-level set, cleverly manipulated by the chorus. It is to Noah Mosley [composer and conductor] and Ella Marchment’s credit that the audience was held spellbound for 90 minutes and applauded enthusiastically afterwards.

Planet Hugill

  • In Ella Marchment’s extremely innovative production, good use is made of the barn setting.



  • The Bard with the music of Verdi, an interesting concept that gave us an amazing theatrical experience. Opera Integra have always been blessed with some great singers, but this production saw them really up their game on the theatrical front with some great production values that really worked to give the show impact. Truly a great piece of drama in its own right, and a truly visionary interpretation. Ella Marchment had a slightly different vision of the themes and really gave us food for thought. Using the strong chess theme was a masterstroke which was the foundation on which everything hung. The theme worked well not only for its impact but also to give us a different insight into a very familiar story.

National Operatic & Dramatic Association


  • An authentically satisfying performance.

Opera Magazine

  • This was a May Day performance of Puccini’s opera to match what one might hear in the most exalted of houses, with all the advantages of observing the action at close hand. In this concert staging, there were no sets, but there was keen, telling direction (Ella Marchment). Imaginative use was made of the space too, the chorus and certain other solos being heard from above and around, reinforcing the sense of being trapped, fatally so, upon a river barge.

– Mark Berry Boulezian


  • An outstanding and beautiful performance.

– Copenhagen Opera Festival

  • Hathaway is simply the most moving production I have ever seen.

– Copenhagen Opera Festival Audience Feedback


  • Ella Marchment ensured that there were a few well-thought-out touches.

Views From The Gods

  • Ella Marchment’s directing of this piece focuses on bringing out a simple story…discovering the multilayers of the story, as opposed to just focusing on one idea. The production…gives a freshness to somewhat stale writing.



  • The drama is given a deceptively brisk pace by the talented young director Ella Marchment.

The Telegraph

  • It’s a bold and engaging piece of portraiture, ingeniously directed by Ella Marchment.



  • María de Buenos Aires is an atmospherically charged performance with excellent singing and a wonderful live band. I was gripped throughout.

– Warren Edwardes


  • It must be really difficult to put on a show like this…but director Ella Marchment has managed to navigate this successfully.



  • Director Ella Marchment skilfully deals with the shift into seriousness and captures so many heartbreakingly bleak moments well.

Views From The Gods


  • Cavalier’s Rock Tosca is basically one of the best ideas anyone has ever had. Big, sweaty, loud and brilliant, rock’s ego-heavy aesthetic is ideal for Puccini’s personality-driven thriller. Ella Marchment’s direction makes the most of this, focusing us on individual characters in turn, keeping the crucial claustrophobic air of persecution in each scene while blasting us with big volume and bigger emotions.



  • It is to the credit of the companies and director Ella Marchment that they took them on and did so much with them.

Bernard Hughes

  • In Ella Marchment, I see a director and artistic leader of imagination, assurance and style.

Bernard Hughes


  • The whole production is a vivid and forceful display of talent from the team under director Ella Marchment.

Everything Theatre

  • Maxwell Davies’s Eight Songs For A Mad King was frankly stunning.

Planet Hugill

  • This was music theatre which was vividly alive.

Planet Hugill

  • A highly imaginative and affecting double bill. Brilliantly located in a hospital for recovering World War One soldiers…faultless in delivery and dramatic emotion.

Opera Now

  • I cannot express enough my appreciation of that performance. It had me smiling all the way through by the magic of it and moved to tears by the performance throughout; how is that possible? Magic.

Ali Frias


  • The artistic directors Oliver Zeffman and Ella Marchment are both in their early twenties, and the production was a remarkable achievement.

Fringe Opera

  • Events like The Bear Goes Walkabout are premonitions of the future of British classical music.

Broadway Baby

  • Helios Collective is something to be excited about: our music is in their hands.

Broadway Baby

  • Ella Marchment’s direction is subtle but accomplished and creative.

Broadway Baby


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The night was thrilling, enjoyable and SO refreshing.
– Cate Burgess

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