Christine Brewer


Recognised as amongst the foremost singers of our age, Christine Brewer's engagements have included the gala concerts to re-open the Royal Opera House, Covent Garden (under Bernard Haitink), Britten’s "War Requiem" in Rome with Antonio Pappano and she has forged strong links with the BBC Proms, most notably with performances of Wagner’s "Die Walküre" and "Götterdämmerung" and Schönberg’s "Gurrelieder" under Donald Runnicles, and Mahler’s 8th Symphony under Sir Simon Rattle. She has also performed in concert with Pierre Boulez, James Levine, James Conlon, Michael Tilson Thomas, Mariss Jansons, David Robertson, Alan Gilbert, Richard Hickox, Christoph Eschenbach, Christoph von Dohnanyi, Gustavo Dudamel, Sir Colin Davis, Sir Charles Mackerras, and Yannick Nézet-Séguin. 

Christine Brewer’s opera engagements include the Färberin ("Die Frau ohne Schatten") and the Mother Abbess ("Sound of Music") with the Lyric Opera of Chicago, Färberin with the Paris Opera, Gluck’s "Alceste", Britten’s "Albert Herring" in Santa Fe and Madame Lidoine ("Dialogues des Carmelites") in St Louis. Miss Brewer is the recipient of the BBC Radio 3 Listener’s Award of the 2008 Royal Philharmonic Society Music Awards.

This is for information only and should not be reproduced.  Please contact Jonathan Turnbull  for a full biography and for performance details.

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Vanessa (Vanessa)

Fidelio (Leonore)

Gloriana (Elizabeth)
Peter Grimes (Ellen Orford)
Albert Herring (Lady Billows)

Doubt (Sister Aloysius)

Iphigenie en Tauride (Iphigenie)
Alceste (Alceste)

Armide (Armide)

Ariadne auf Naxos  (Ariadne)
Die Aegyptische Helena (Helena)
Die Frau ohne Schatten (Färberin)

Oberon (Rezia)
Euryanthe (Euryanthe/Eglantine)

Die Walküre (Brunnhilde)
Siegfried (Brunnhilde)
Götterdämmerung  (Brunnhilde)
Tristan und Isolde (Isolde)

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  • Christine Brewer



Tristan und Isolde, June 2015

Sydney Symphony Orchestra, David Robertson

Soprano Christine Brewer as Isolde captured that expansiveness with a voice of endless fluidity and measureless power. The line was never strained and the phrases seem to unfold like waves of time on the point of spilling into the infinite.
Peter McCallum, Sydney Morning Herald


Four Last Songs

Lammermuir Festival, BBC Scottish Symphony Orchestra, Martyn Brabbins

The heart of the programme was the Strauss, with soprano Christine Brewer giving her 96th performance of the Four Last Songs. What is so wonderful about her deep-lodged interpretation is how unpushy it is. She embodies this music effortlessly, every phrase shaped without fuss, every interval subtly shaded. Her voice can be huge and occasionally steely in the upper register, but she wove it among the orchestra like one of the instruments. In Spring she surged and swept with the strings; in September she traded oily, seamless lines with the winds.  Kate Molleson, The Guardian

Sound of Music

Lyric Opera of Chicago

Christine Brewer easily commands the stage with both her pipes and her presence as the wise Mother Abbess who senses Maria’s worldly temperament.  Hedy Weiss, Chicago Sun-Times
Grammy Award winner Christine Brewer lends her world-renowned soprano to the role of Mother Abbess, whose “Climb Ev’ry Mountain” is show-stopping.
...Christine Brewer, a powerhouse, warm-blooded Mother Abbess... Chris Jones, The Theater Loop
The nuns’ choruses, led by dramatic soprano Christine Brewer as the Mother Abbess, resounded as in a cathedral.  Nancy Malitz, Chicago on the Aisle


Albert Herring, November 2013

Barbican Centre

The cast list of this performance was amazing — and no one was indisposed: Christine Brewer, superb as Lady Billows, a great comic actress not allowing us to forget that she was until recently the leading Isolde... Michael Tanner, The Spectator


Der Freischütz, LSO Live Recording

Barbican Centre

It’s one of the LSO’s more successfully cast opera sets, with majestic top notes from Christine Brewer’s Agathe... Financial Times
Christine Brewer in dramatic full throttle as Agathe... The Observer
Christine Brewer's Agathe is the romantic heroine par excellence. William Dart, New Zealand Herald



Minnesota Opera

The loudest applause deservedly went to Christine Brewer, the distinguished American soprano who may have found the role of a lifetime as Sister Aloysius, an old-style disciplinarian whose devout faith does not inhibit her from resorting to devious tactics to defend her values

Associated Press
Bringing the characters to vivid life is an exceptional collection of singers, led by soprano Christine Brewer as Sister Aloysius, the prickly principal embittered by patriarchy and a past encounter with what she sees as a similar situation. Brewer's rich reputation as a Wagner soprano comes through when she unleashes her inner Valkyrie when venting her fury in a climactic confrontation with the priest.  Pioneer Press


Four Last Songs

London Philharmonic Orchestra, Royal Festival Hall

Splendour number one? Christine Brewer’s red dress, red enough to have been cut from the carpet laid out at Westminster Abbey. Red enough too to serve as a suitable visual symbol of the American soprano’s regal authority in the long curling lines of Strauss’s Four Last Songs — the tender peach at the centre of Vladimir Jurowski’s programme with the London Philharmonic. Geoff Brown, The Times

CD: Echoes of Nightingales

Roger Vignoles, piano

This extraordinary disc brings together songs by predominantly American composers that were used as encores by four sopranos who were hugely popular in the US from the 1930s to the 60s – Kirsten Flagstad, Eileen Farrell, Helen Traubel and Eleanor Steber. The astonishing Steber could sing just about anything. The other three were Wagnerians – Flagstad, of course, being the greatest – though Traubel also notoriously annoyed operatic authorities by singing cabaret. But all four ended their US recitals and broadcasts with either songs from the shows, salon numbers or sentimental ballads by the likes of Idabelle Firestone and Mildred Lund Tyson. Brewer, in tremendous voice, carves out a niche as their successor, partly because the majestic quality of her delivery equals theirs, but more importantly because she, like they, has the ability to make this repertoire live and breathe without sounding mawkish. The high points – there are many – include Frank La Forge's Hills and Sweetheart from Sigmund Romberg's Maytime. And Brewer's pianist, Roger Vignoles, sounds as if he's thoroughly enjoying himself. Tim Ashley, The Guardian



Echoes of Nightingales

Encores as sung by Kirsten Flagstad, Eileen Farrell, Helen Traubel and Eleanor Steber

Christine Brewer (soprano), Roger Vignoles (piano)