Contralto

Avery Amereau

“A rarity in music” and “an extraordinary American alto on the rise.”  NY Times

A native of Jupiter, Florida, Avery Amereau received her Bachelor of Music degree at Mannes College, and went on to study at The Juilliard School, where she was the proud recipient of a Kovner Fellowship and the Shoshana Foundation 2017 Richard F Gold Career Grant.  She has studied with Edith Wiens and Dan Marek.

© Matilde Fassò

Introduction

She made her Metropolitan Opera debut in 2016 as the Madrigal Singer in Puccini’s Manon Lescaut and has since sung at the Glyndebourne Festival (Dryad/Ariadne); Seattle Opera (Ursula/Beatrice et Benedict); Opera Columbus (Carmen) and at the Grand Théâtre de Genève (Cherubino/Nozze di Figaro). This season, Avery will sing Eduige/Rodelinda with Emmanuelle Haïm in her house and role debut at Opera de Lille and for Opera de Lyon, and will return to the Glyndebourne Festival as Goffredo/Rinaldo. On the concert platform, she will sing Bach’s B Minor Mass with the Seattle Symphony, Prokofiev’s Alexander Nevsky with the Colorado Symphony and the New West Symphony, make her debut with the Early Opera Company in Dido and Aeneas at the Het Concertgebouw Amsterdam and make her BBC debut as Ursula in Beatrice and Benedict.

Recent concerts include Vivaldi arias with the Orchestra of St Luke’s in New York; Mozart’s Requiem with the Rhode Island Philharmonic and Bramwell Tovey; Bach’s St John Passion and Duruflé’s Requiem with the Voices of Ascension, New York; Berlioz Les Nuits D’été and Brahms Alto Rhapsody with the American Classical Orchestra, and concerts of Handel and Vivaldi with the Philharmonia Baroque Orchestra and Nicholas McGegan.  Exceptional in baroque repertoire, she has worked with William Christie, Helmuth Rilling and Maasaki Suzuki, and at the Bachfest Leipzig and the Boston Early Music Festival.


Performance Schedule

  • More info  
    05 Nov 18 Review: Dido & Aeneas Early Opera Company
    Opera Magazine

    Translated from Dutch:

    “In this work, mezzo-soprano Avery Amereau was the new star. She sang and played a convincing sorceress. Her evil intentions came to the spotlight especially in the deep regions of her voice.”

    Jacqueline van Rooij, Opera Magazine, 5 November 2018 

  • More info  
    08 Oct 18 Review: Rodelinda Opera de Lille

    “…The young contralto Avery Amereau was Eduige; Bellorini transformed her into a femme fatale, which she portrayed with ease and spontaneity. Her voice is unusual and remarkable, with a true contralto quality. She is at ease in the low register, with good projection, and she has good high notes and agile coloratura. It will be interesting to see how her voice develops in the future.”

    ****

    Laura Servidei, Bachtrack, 8 October 2018

    ” Avery Amereau’s mezzo-soprano voice has a creamy middle and seductive lower register to give the character of Eduige the relief of a woman of character, struggling with both her demands and her feelings.”

    Translated from French

    Caroline Mounier-Vehier, Olyrix, 7 October 2018

  • More info  
    25 Mar 18 Review: Alto Rhapsody American Classical Orchestra
    Alice Tully Hall

    “Blessed with an instrument of uniform timbre from its strong top to its rich lowest register, Amereau could do no wrong, holding listeners spellbound with long vocal lines and a freedom of nuance that responded to every inflection of Brahms’s unutterably sad and sweet music.”

    David Wright, New York Classical Review, 25 May 2018

    “Brahms’s strange, limpidly beautiful “Alto Rhapsody” calls for a vocalist with depth and clarity throughout her range. Amereau more than measured up. Her mosaic of clear and cloudy timbres enriched Brahms’s sweetly wandering melodies, fulling expressing the composer’s many dimensions of feeling and craft. Together with the orchestra she magnificently sustained the second section’s mysterious emotionality. In the final section the gorgeous redemptive strains of the men’s choir supported the cool tonal control she maintained high and low, and the hymn-like passages sounded fulsome and pure.”

    Jon Sobel, Blog Critics, 28 March 2018

  • More info  
    14 Apr 17 Review: St. John Passion St. Paul’s Chapel, Trinity Church
    New York Times

    “Mr. Keene had a superb Jesus in the bass-baritone Kevin Deas, and a terrific alto soloist in Avery Amereau, the only female singer in the performances I heard to venture the low-lying aria “Es ist vollbracht” (“It is accomplished”), accompanied by viola da gamba. Ms. Amereau is herself something of a welcome throwback at a time when countertenors have all but displaced contraltos in early music.”

    James R Oestrich, New York Times, 14 April 2017

     

  • More info  
    15 Nov 16 Review: Manon Lescaut Metropolitan Opera, New York
    New York Times

    “Even the minor role of a musician who recites madrigals written by Manon’s rich patron, sung by the captivating Avery Amereau, stood out for the unusually rich, saturated auburn timbre of her voice.”

    Corinna da Fonseca-Wollheim, New York Times, 15 November 2016

  • More info  
    19 Feb 15 Review: The Rape of Lucretia Julliard Opera
    New York Times

    “With her sensual mezzo-soprano voice, Avery Amereau is achingly perfect as Lucretia”

    Anthony Tommasini, New York Times, 19 February 2015

  • More info  
    15 May 15 Review: Carmen New York Opera Exchange
    Opera Today

    ” Avery Amereau (Carmen) has an effortlessly rich mezzo-soprano voice worthy of any professional stage in the industry, with the charisma to match.”

    Alexis Rodda, Opera Today, 15 May 2015