Takesha Meshé Kizart
Introduction
Chicago native and star of the feature film "The Verdian Voice", Takesha Meshé Kizart, was lauded by the prestigious Concorso Internazionale Voci Verdiane "Città di Busseto" as Grand Prize Winner and the next great Verdian Voice of her generation, awarded Grand Prize at Concurso Internacional de Canto Montserrat Caballé by Caballé herself, and has captured top prizes from numerous organizations and competitions throughout the world. A performer since the age of two, she is also the grand-niece of Music Legends McKinley "Muddy Waters" Morganfield and Tina Turner.
Praised for "blasting star quality all over the stage with her stunning voice and sensational good looks" (Opera News), her "powerful, lustrous, silky, caramel-hued soprano wields impressive ease and elegant control" (New York Times). Having appeared with The Philadelphia Orchestra, MIDEM & Radio France, SWR, Baden Badener Philharmonie, The Metropolitan Opera Live HD Broadcast Intermission Feature, and many others, her exceptionally vivid portrayals include the title role of Marie Victoire and Mimi (La Boheme) with Die Deutsche Oper Berlin, Donna Leonora (Il Trovatore) with Staatsoper Stuttgart, the title role of Tosca with Opera North-UK and The Dallas Opera, Donna Leonora (La forza del destino) with Caramoor International Music Festival and The Academy of Vocal Arts of Philadelphia (AVA-2008 Alumnae), Lucrezia Contarini (I Due Foscari) with Opera Orchestra of New York, Costanza (L'isola disabitata) with Gotham Chamber Orchestra, The Duchess (Powder Her Face) with Musikfest Bremen, Beethoven's Symphony No. 9 with The Latvian National Symphony Orchestra, Mendelssohn's Lobegesang with The Fort Worth Symphony, Wagner's Liebestod with Symphony in C, Amelia (Un ballo in maschera), the title role of Vanessa, Anna (Le Villi), Donna Anna (Don Giovanni), Rossini's Stabat Mater, and Mendelssohn's Elijah with AVA, Desdemona (Otello), Violetta (La Traviata), Giorgetta (Il Tabarro), the title roles of Suor Angelica and Manon Lescaut, Fiordiligi (Così fan tutte), Contessa Almaviva (Le nozze di Figaro), Lià (L'Enfant Prodigue), Händel's Messiah, Dubois' Seven Last Words, and Saint-Saëns' Christmas Oratorio.
Contracted with engagements through the 2012/2013 season, upcoming appearances include exciting debuts with The Metropolitan Opera of New York; in Recital with renowned pianist Ken Noda; the title role of Tosca with Opera Australia; Margherita & Elena (Mefistofele) with Opera National de Montpellier; the title role of Maria di Rohan with Caramoor International Music Festival; the title roles of Marie Victoire and Madama Butterfly, and Klytemnestra (Cassandra by Gnecchi) under Maestro Runnicles with Die Deutsche Oper Berlin; the title role of Tosca with Die Oper Frankfurt; Donna Leonora (Il Trovatore) in a new production with New National Theatre Tokyo; new productions of Verdi's Requiem, Judith (Bluebeard's Castle), and Tosca with Oper der Stadt Koeln; and the title role of Tosca with Die Bayerische Staatsoper.
This is for information only and should not be reproduced. Please contact Kate Baylis for a full biography and for performance details
Press Reviews
Opéra de Montpellier - Mefistofele - April 2010
"...Takesha Meshé Kizart, however, is worthy of all superlatives. With a breathtaking mastery, she unflinchingly portrays the dual roles of Margherita and Helen of Troy, as requested by Boito in Mefistofele. By turns fragile, royal and tragic, she provides what her two main partners only hint: a vocal flexibility that enables her to acutely pass from a tearful murmur to a firm luminosity. And her dramatic intelligence is worthy of the great "lionesses" of the lyric theater. One is reminded of Shirley Verrett... For a lover of opera, it is always exciting to discover an artist whose international career is still at its dawning. Laureate of many competitions, including "Voci Verdiane" and "Montserrat Caballe", this young and beautiful American should reach the summit quickly. Provided, of course, that she preserves the incandescent glow that currently emanates from her every word and gesture."
Pierre Cadars - Opera Magazine
An extraordinary success, the lyric "Mefistofele" unleashed a total operatic frenzy. Among the solo interpreters, all brilliant, the infernal trio created the shock of the opera's great moments. The sculpturesque soprano Takesha Meshé Kizart succeeded in the tour de force of singing the two roles of Margherita and Elena di Troja quite different vocally. Indeed she exceeds the necessary qualities and has an ideal techinique. A diva. This human adventure is the image of ideal opera: total and absolute.
Michele Fizaine - Midi Libre
La distribution est dominée par la sensationnelle soprano de Chicago Takesha Meshé Kizart, une beauté d’ébène, qui envoûte aussi par son timbre opulent riche d’une grande palette de couleurs, par ses aigus dardés et ses graves charnus. Très investie dans ses deux rôles, elle en oublie parfois de mieux contrôler certains passages de registres mais c’est péché véniel devant tant de dons si généreusement offerts. Elle devrait être formidable en Judith à Cologne.
Jérome Pesqué - www.odb-opera.com - 1st June 2010
Pour Takesha Meshé Kizart, en revanche, tous les superlatifs sont de mise. Avec une maitrise époustouflante, elle aborde sans faiblir le double rôle de Margherita et d'Elena (comme le souhaitait Boito). Tour à tour fragile, royale et tragique, elle apporte ce que ses deux principaux partenaires ne laissent que deviner: une souplesse vocale lui permettant de passer du murmure déchirant à un aigu aussi ferme que lumineux. Et son intelligence dramatique est digne des plus grandes "lionnes" du théâtre lyrique...
Pierre Cadars - Opera Magazine - June 2010
Le meilleur pour la fin: la découverte de la splendide soprano Takesha Meshé Kizart (Margherita)...Le timbre est magnifique...l'instrument se déploie généreusement, pour culminer dans son grand air ("l'altra notte in fondo al mare"). Très belle en scène et très engagée, l'actrice faitr aussi passer le frisson dans cet acte III.
François Jestin - Scenes Magazine - Juin 2010
La Marguerite d'Elena Takesha Meshé Kizart une révélation: une voix tonitruante qui semble, par la justesse de ses attaques et sa fraicheur, une artiste à l'orée de sa carrière...elle n'esp pas qu'une force physique...L'intensité qu'elle a fait régner à cet acte nous permet d'augurer d'une prochaine grande chanteuse.
J. Bonnaud - Opmuda - Juin 2010
Vocalement la Margherita de la soprano Takesha Meshé Kizart, toute de délicatesse, nous donne une leçon de beau chant.
Robert Sabatier - La Gazette - Juin 2010
La sculpturale soprano Takesha Meshé Kizart réussit le tour de force de chanter les deux rôles de Marguerite et Hélène, bien différents vocalement. Elle a effectivement plus que les qualités requises et une technique idéale. Une diva.
Michèle Fizaine - Midi Libre - 4th May 2010
Enfin la merveille, Margueritte et son interprète sont extraordinaires, la voix de cette jeune Américaine possède toutes les caractéristiques des grandes voix pour parler d'un âge d'or. Cette jeune Takesha Meshé Kizart est partie pour une immense carrière sur les grandes scènes internationales.
Alain Breton - L'Herault
...tandis que la soprano américaine Takesha Meshé Kizart, révélation de l'édition 2008 du Midem Classique, fait valoir un chant aussi généreux qu'émouvant dans le double rôle de Marguerite et d'Hélène. Un spectacle fort et somptueux.
Christian Jarniat - Tribune Bulletin Cote d'Azur - 21st May 2010
Oper Köln - Bluebeard's Castle - March 2010
4 * - Takesha Meshé Kizart’s Judith revealed a voluptuous stage presence, a ravishing voice, a sensational talent.
Andrew Clark, The Financial Times
The constant interrelation of attraction and repulsion in the relationship between Judith and Bluebeard is very good and precisely portrayed. This is certainly owed to the outstanding singing and acting achievements of Takesha Meshé Kizart. A Judith who glows in the low, radiating with a rich mezzo-like timbre. Kizart's voluminously nuanced Soprano soars effortlessly through this repertoire. This pair achieved an intensity of interaction that could hardly be exceeded. Large, well-earned, boo-free applause for all involved.
Markus Schwering, Kölner Stadt-Anzeiger
This premiere exuberantly succeeds. Takesha Meshé Kizart accurately portrays Judith as beautiful and enticing, as well as demanding and cold. Her rich soprano voice masters the deep tessitura of the chest register and shines in the heights with colors and urgency. Chemistry is in tune between both singers and creates an interpretation that is simultaneously affecting, erotic, and exciting. Large rejoicing for the singers, the production team, conductor, and orchestra. Without reservation, an Opera evening well worth seeing and hearing!
Damian Kern, Der Neue Merker
5* - Self-confidently insistent in her urge to decode the secrets of her lover even up to the deadly consequence, Takesha Meshé Kizart is an uncommonly insistent and confident Judith who is consistently analyzing for hidden love. Her singing is infused with emotion, brilliant heights, enormous volume, and a victorious timbre.
Franz R. Stuke, www.Opernnetz.de
A fabulous achievement - a complete dream of artistry and personality. Marvellous dream-like pictures to remember, with a successful conclusion likened to a Hitchcock crime film... and the music is world-class with Takesha Meshé Kizart as Judith.
Peter Bilsing, Der Neue Merker & Musenblätter
The curiously devoted Judith, Takesha Meshé Kizart, and Bluebeard form a virtuosic pair along with a very high level of singing. The evening was a triumph.
Olaf Weiden, Kölnische Rundschau
Takesha Meshé Kizart succeeds as Judith... effectively and convincingly translating the development of the character into singing.
Rheinischer Merkur
Takesha Meshé Kizart...sing and act so intensively, as if they are personally experiencing the process.
Christof Zimmermann, Bonner Generalanzeiger
Pedro Obiera, Giessener Allgemeine Zeitung
Opera Australia - Tosca - January 2010
Opera Australia achieved a real coup in securing the American soprano, Takesha Meshé Kizart. Kizart played Tosca in Alden’s original Opera North production in 2008 and her performance certainly lived up to its outstanding reputation in the eyes of the first night audience, many of whom gave her a standing ovation. She inhabits the role – her stage presence is breathtaking, her control relentlessly accurate and sublime. The power and depth of her voice gives her soft tones a radiant heat and her loud a fullness textured with subtlety. As the object of Scarpia’s unbridled and terrifying lust - the toy with which he plays a sadistic game - Kizart’s Tosca is beautifully realised, drawing the audience into an intensely personal identification with her love and her fear by turns.
Jennifer Spark, Arts Hub - The Australian Arts Portal
A vital part of that truthfulness is the arresting central performance of Takesha Meshé Kizart as Tosca, embodying this very different incarnation of her character with deep, unwavering commitment. Kizart's Tosca — Alden's Tosca — is a fragile romantic whose beauty far transcends her shabby circumstances, and whose dreams are her only refuge from an unromantic and precarious existence. From the outset she inhabits a world of her own, and every injury she suffers, be it emotional or physical, causes her to retreat further into her own delusions. By the final act she is completely undone, cowering in the confessional, and babbling of mock executions and future happiness to a Cavaradossi who might be dead already, for all the difference it would make. Kizart's singing is as fearless and as eerily beautiful as her characterisation. Her dark, distinctive timbre asserts itself from its very first "Mario!" and never once slackens its grip: she weathers the score's every storm with irresistible, Italianate style. Her experience in the role (and in Alden's staging) pays dividends: she's alive to the nuances of score and text and not afraid to assert her individuality. At the role's vocal extremes — and Tosca does spend most of the opera in extremis — she is sensational. Her "Vissi d'arte" is entirely her own, its soaring climax and exquisite pianissimi blooming organically from the drama, with not a trace of the warhorse about them. Takesha Meshé Kizart defies belief. She was amazing... There was not a single note of this performance I would have changed. She's sensational. I can't do her justice. Her "Vissi d'arte" tonight is one of the most beautiful things I've ever heard in any theatre, ever.
Sarah Noble, Prima la music blog
Key to the show's success is the confident performance of its Tosca, debuting American soprano Takesha Meshé Kizart received a substantial standing ovation. Kizart, who has sung in Alden's staging before, meets its unconventional challenges with gutsy self-possession, persuasively charting Tosca's slide into total nervous breakdown. Her fiery, fearless singing explodes with passion; at the role's dynamic extremes - the exquisite pianissimi of her "Vissi d'arte", her vicious confrontation with Scarpia - she is simply thrilling.
Sarah Noble, The Opera Critic
Power, Passion, Politics... Not for the faint-hearted. At the opening night of Opera Australia's new production of Tosca, soprano Takesha Meshe Kizart received a standing ovation for her performance in the title role. Tosca's traumatised reaction to attempted rape and murder rang true. The singing was this production's saving grace. Kizart thoroughly deserved her standing ovation. She gave a magnificent performance, displaying focused line, resounding clarity, a wide range of expressive colour and effortless agility.
Murray Black, The Australian
...the singing was superb...A standing ovation for Takesha Meshe Kizart's Tosca...Many of Puccini's defenders will forgive much to hear Kizart's Tosca. With a voice of bony power leavened by a rich dramatic vibrato, guttural low tones and natural instincts for the dramatic direction and shape of melodic lines, she was superb. Alden's conception requires her to perform the last act as deluded rather than deceived and whatever one thinks of the idea, her dramatic force is consummate.
Peter McCallum, The Sydney Morning Herald and The Brisbane Times
Despite all the critical hoopla over this updated production I enjoyed it and would rather like to see it again. The solo voices were magnificent...Ms. Takesha Meshé Kizart gave a sensuous and sensational performance. Dressed contemporarily ‘to kill’, she was jealous, loving, superior and finally stoic in the face of death. Boots, dress, Ray-Bans and gossamer hair. Her Vissi d’arte was a triumph and the ovation she received ecstatic. The final audience applause included a huge and prolonged standing ovation by a large majority of the stalls patrons...With great singing and Puccini’s immortal score this will not fail to exotically entertain.
Andrew Byrne, The Byrne Surgery Opera Blog
4 Stars... A well-deserved standing ovation given to American soprano Takesha Kizart. At the second performance, the curtain calls for the singers and conductor were uniformly rapturous. Yes, they were booed for violating the irrational requirement that not only must Tosca be gorgeous (she was) but everything about the opera must be gorgeous - despite the sexual assault and murders. Even Tosca's trademark suicide leap from the parapets is jettisoned, leaving us with the heartbreaking sight of her body slumping on stage. But with singing of this quality, the set designer could have kept the soloists neck-deep in styrofoam without hindering the applause. Kizart's stage presence and acting were certainly impressive, but the voice was an astonishing combination of shimmering colour, emotional suppleness, and sheer power.
Jason Catlett,Time Out Sydney
The production sizzles with drama and raw emotion. US born Takesha Meshé Kizart comes to Opera Australia from performing this role in the UK for Opera North. Her ease within the contemporary setting is obvious, as she saunters across the stage in high-heeled boots and dark glasses, an air of mystery permeating her appearance. The mystery disappears... her raw jealousy dominating their exchange. Kizart’s Tosca is a woman of intense emotion, she is no paper heroine. Her jealousy is a palpable feeling that sets up her later commitment to Cavaradossi. Tosca's main aria, Vissi d'arte, is sung by Kizart in a restrained and internalized fashion... she sings as if to reassure herself as much as anything else. Kizart's voice is a magnificent vehicle for this aria, soaring effortlessly through the melodic line. This is a production marked by fresh innovation and solid performances. Kizart's Tosca is gloriously real.
Karen Finch, Suite101
Long and effusive ovations are one manifestation of this uninhibited investment... the first night crowd at the Sydney Opera House gave plaudits to the singers, bursting into enthusiastic applause as the performers took their bows. The real heat is generated by the friction between Tosca and Scarpia. Takesha Meshe Kizart combines excellent vocal characterization with acting skills and body language that intensify the emotional direction of the score. Kizart excels in the vulnerability she brings to Tosca’s passion, and in conveying her sense of being at the mercy of emotions that are a liability in a cynical world. Similarly, her quiet but adamant insistence ‘paint her eyes dark,’ cuts right to the core of her unsettled love for Cavaradossi – it is always resilient but dogged by insecurity. Kizart also excels in the quiet final phase of the much loved ‘Vissi d’Arte’.
Nick Terrell, M/C Reviews
New Opera Star stuns Sydney. Rapidly rising Chicago born soprano, Takesha Meshé Kizart, had the Sydney Opera House audience on its feet after Friday night's premiere of Puccini’s Tosca. Kizart, who is the grand-niece of music legends Muddy Waters and Tina Turner, earned high praise.
Paul Williamson, The Fool and the Opera Blog
There was some fine singing from a wholly committed cast...American soprano Takesha Meshe Kizart gave a strong performance as Tosca; specially, as in her Visse d'arte...
Ninox, Wandering Ninox Blog
...The opening night of a new production of “Tosca” last week...was a standing ovation...There was real passion in the theatre. It was an exciting performance and interpretation...What unfolded was superb singing and drama...The tension between Takesha Meshe Kizart as Tosca and John Wegner as Baron Scarpia... could have been cut with the knife Tosca stabs him with. And even the bullet in the head from one of Scarpia’s henchmen, instead of Tosca’s traditional suicidal leap from the parapet when she discovers her artist lover dead works! Intrigued – buy a ticket, you won’t regret it. It’s an exciting new take on one of Puccini’s best and most loved Operas.
Bronwyn Bishop, The Punch
Deutsche Oper Berlin - Marie Victoire - April 2009
The exciting young American soprano Takesha Meshé Kizart sings the role of Marie...
Bruce Scott, www.npr.org, 26th March 2010
Besonders gelingt dies Takesha Meshé Kizart in der Titelrolle. Ihr Sopran hat ein wohltuend warmes, fülliges Timbre, er verfügt über Valeurs, Esprit, den nötigen Hauch an dramatisch aufgeladener Erotik.
Jürgen Otten, Frankfurter Rundschau, 10th April 2009
Particularly successful was Takesha Meshé Kizart in the title role. Hers is a pleasantly warm, rounded timbre which is full of richness and spirit and also contains a compelling hint of erotically charged drama.
Das Publikum bejubelte gleichwohl die Sänger, zumal Takesha Meshé Kizart mit ihrer an Jessye Norman erinnernden, höchst differenziert geführten, alles überstrahlenden Stimme.
Georg-Friedrich Kühn, Deutschlandradio (www.dradio.de), 10th April 2009
The audience were equally delighted by the singers, especially Takesha Meshé Kizart who evoked the memory of Jessye Norman, producing a refined and radiant sound.
Die Sänger werfen sich bewundernswürdig ins Zeug: Takesha Meshé Kizart mit Enorm konditionsstarker lyrischer Emphase in der Titelpartie…
Christine Lemke-Matwey, Die Zeit, 16th April 2009
The singers threw themselves into it: Takesha Meshé Kizart with strong lyrical emphasis in the title role.
Die Titelheldin, Takesha Meshé Kizart, ersang sich mit leuchtend leidenschaftlichem Verströmen jubelnden Szenenbeifall.
Laura Naumburg, Neues Deutschland, 15th April 2009
The title singer, Takesha Meshé Kizart, sang with luminous passion to spontaneous applause.
Die junge amerikanische Sopranistin Takesha Meshé Kizart singt die Titelpartie mit angenehm dunkel grundiertem Timbre.
Matthias Nöther, Berliner Zeitung, 11th April 2009
The young American soprano Takesha Meshé Kizart sings the title role with a gentle, darkly rounded timbre.
Als Marie Victoire beeindruckt die US-Sopranistin Takesha Meshé Kizart nach Art einer kleinen Leontyne Price.
Kai Luehrs-Kaiser - Die Welt, 11th April 2009
As Marie Victoire, the US soprano Takesha Meshé Kizart impresses in the vein of Leontyne Price.
Eine zauberhaft zarte, wunderbar ausdrucksvolle, durch wandlungsreiche Emotionalität hinreissende Stimme beherrscht den Abend: Takesha Meshe Kizart singt die Marie mit beglückender Leidenschaft, verleiht der so unzureichend angelegten Figur glaubwürdigen Charakter – betört mit seelenvollem Timbre und geschmeidiger Phrasierungskunst!
A magically gentle, impressive and gorgeous voice dominated the evening: Takesha Meshé Kizart sings Marie with uplifting passion, she gave the imperfect role a more credible interpretation – she infatuated all with her soulful timbre and flexible phrasing.
Der sängerische Glanzpunkt des Abends war ohne Zweifel Takesha Meshé Kizart in der Titelpartie. Eine helle und dabei starke Stimme mit einem angenehm schlanken Vibrato kombiniert diese Sängerin mit einer grossen darstellerischen Begabung.
Dr Martin Knust - Operapoint, 11th April 2009
The vocal highlight of the evening was, without a doubt, Takesha Meshé Kizart in the title role. She combines a clear, strong voice with a soft vibrato with impressive dramatic ability.
…ist Takesha Meshé Kizart eine Sängerin mit grösstem Zukunftspotenzial.
Dr Kevin Clarke - www.klassik.com
Takesha Meshé Kizart is a singer with a great promise.
Schedule
Deutsche Oper Berlin, Germany
19 September 2010 19.00
Sunday, 19th September 2010, 19:00
Clitennestra - Takesha Meshé Kizart
ELEKTRA - Strauss
Chrysothemis - Manuela Uhl
Deutsche Oper Berlin, Germany
22 September 2010 19.00
Wednesday, 22nd September 2010, 19:00
ELEKTRA - Strauss
Chrysothemis - Manuela Uhl
Deutsche Oper Berlin, Germany
25 September 2010
Saturday, 25th September 2010
Clitennestra - Takesha Meshé Kizart
ELEKTRA - Strauss
Chrysothemis - Manuela Uhl
