Shelley studied singing and piano at the Royal College of Music gaining her Dip RCM Teachers and Performers (ARCM) Certificates.
She studied with Margaret Kingsley and gained her RCM Postgraduate Certificate studying with Dame Heather Harper and she continued her studies with Janice Chapman, Rita Hunter and Ludmilla Andrew.
Shelley was the 1999 winner of the London Wagner Society Bayreuth Bursary, and in the same year finalist in the Dame Eva Turner Competition for aspiring dramatic sopranos held at the Royal Northern College of Music in Manchester.
Shelley performed the role of Mrs Grose in Britten’s Turn of the Screw at the Britten- Pears School for Advanced Musical Studies, at the Snape Maltings, Aldeburgh.
She was awarded the Joan Cross Commemorative Bursary by the Britten-Pears Young Artists Programme. Shelley was selected for masterclasses with Dame Gwyneth Jones, Rita Hunter, Galina Vishnevskaya, and selected
by competition to take place in a masterclass of Strauss Lieder with Barbara Bonney at the Wigmore Hall London.
Shelley’s operatic debut was as Santuzza in Cavalleria Rusticana at the Snape Maltings Concert Hall in Aldeburgh.
She sang Brünnhilde in Act 3 of Wagner’s Götterdämmerung, conducted by Anthony Legge for the Mastersingers Opera Company. The role of Senta in Der Fliegende Holländer for Cambridge University Opera Society. Other Wagner roles include Woglinde in Das Rheingold and Sieglinde in Die Walküre. She covered Freia in Das Rheingold and third Norn in Götterdämmerung for Oper Frankfurt.
She performed the title role of Guenever for the premiere recording by BBC Radio 3 ‘Composer of the week’ of Parry’s Wagnerian style opera, orchestrated by Jeremy Dibble. Performed with the BBC Concert Orchestra, conducted by Barry Wordsworth.
Shelley has been a professional chorister with Opera North, Royal Opera House, Covent Garden, Oper Frankfurt, and the Bayreuther Festspiele. She made her American debut with the Charleston Symphony Orchestra performing the Strauss Vier Lezte Lieder and the Wagner Wesendonck Lieder, conducted by the celebrated American conductor John Nelson.
Shelley’s oratorio engagements include Verdi Requiem from Scratch at the Royal Albert Hall London conducted by Sir David Willcocks, also at The Queen Elizabeth Hall, Canterbury Cathedral, Winchester Cathedral, Snape Maltings Concert Hall Aldeburgh. Cheltenham Town Hall, Edinburgh's Usher Hall et al. Carl Orff’s Carmina Burana at St Paul’s Cathedral, Salisbury Cathedral, Snape Maltings Concert Hall Aldeburgh. Ilkley and Otley Choral Society and the Cumbrian Rural choirs, conducted by Sir Philip Ledger, Sands Centre Carlisle.
Shelley performed the Janacek Mass in E flat and Puccini Salve Regina in St John’s Smith Square and on tour with the choir of Gonville and Ciaus College Cambridge, conducted by Geoffrey Webber, available on the ASV label as a world premiere recording. Mahler’s 8th Symphony in the Usher Hall with Edinburgh Bach choir and Edinburgh Choral Union, conducted by Neil Mantle.
Shelley’s wide repertoire includes Britten’s War Requiem at Canterbury Cathedral and the Snape Maltings Aldeburgh. Haydn’s Nelson Mass and Rossini Stabat Mater in Winchester Cathedral. Mendelssohn’s Elijah with George Badacsonyi at the Vigadó Concert Hall Budapest. Mozart Requiem in the De Montfort Hall Leicester, with Leicester Philharmonic choir and the Manchester Camerata conducted by Laslo Heltay. Symanowski Stabat Mater and Beethoven Missa Solemnis and Beethoven 9th Symphony for Watford Philharmonic Society. Vaughan Williams Dona Nobis Pacem and Handel’s Messiah at Romsey Abbey.
In her early career Shelley worked as a professional consort singer. Choirs include the Royal College of Music Chamber Choir and London Bach choir with Sir David Willcocks. The Monteverdi Choir and Orchestre Révolutionnaire et Romantique with Sir John Eliot Gardiner, The Hilliard Ensemble; Choir and Orchestra of the Age of Enlightenment and the English Concert with Sir Roger Norrington. BBC Singers ad hoc.
She has also been a full time chorister in a number of London churches, these include The London Oratory, St George’s Hanover Square, St Etheldreda's Ely Place and The Royal Hospital Chelsea.
Thames Festival Orchestra, Thames Philharmonic Choir & Kostanz Oratorio Choir. Conductor, John Bate.
‘The four soloists fulfilled their demanding roles: Shelley Everall kept up the momentum throughout the wide vocal range of her solos and excelled in the final Libera Me.’
Winchester and County Music Festival Cathedral Concerts. Conductor, Francis Wells.
‘Solo voices, especially those of the ladies must be of operatic proportions and the performance was greatly enhanced by Shelley Everall (soprano). The Libera Me was suitably dramatic, and it was thrilling to hear this soprano‘s top notes soaring effortlessly through the biggest climaxes of choir and orchestra.’
Winchester Music Club. Conductor, Neil Chippington.
‘Soprano Shelley Everall sang the Crucifixus section of the Credo with tenderness and feeling, while the sweeping phrases of the O Salutaris were both reverent and finely moulded.’
Cumbrian Rural Choirs. Conductor, Sir Philip Ledger.
‘If the bad news had been the indisposition of the countertenor, the good news was that the soprano Shelley Everall would – given a judicious pitch shift now and then – take his place. She was in fact good news from start to finish- her bell like tones creating moments of spellbinding beauty in, ‘In Truitina’ and ‘Stetit Puella’, not to mention that climactic top D! Placed nearby the Keswick and Nelson Thomlinson School Choirs, she must have been a real inspiration for the young singers, who themselves made an effective contribution as the Ragazzi.’
Britten-Pears Young Artists Programme.
Conductor, Martin André.
‘Shelley Everall brought both steely conviction and quasi Wagnerian tone to the role of Mrs Grose and was chillingly compelling in her revelation of Quint’s true nature.’