Representation for Film, Television, and Theater Only
American soprano Alyson Cambridge, hailed by critics as “radiant, vocally assured, dramatically subtle and compelling, and artistically imaginative” (Washington Post), noted for her “powerful, clear voice” (New York Times) and “revelatory, sensual, smoky readings” (Opera News) is one of the most diverse and compelling vocal artists on the scene today. Her rich, warm soprano, combined with her strikingly beautiful stage presence and affecting musical and dramatic interpretation, have brought her over a decade of successes on the world’s leading opera and concert stages, including The Metropolitan Opera, Lyric Opera of Chicago, Washington National Opera, Los Angeles Opera, Carnegie Hall, London’s Royal Albert Hall, Deutsche Oper Berlin, Vienna Konzerthaus, among others, as well as recent débuts in Paris, Warsaw, Beijing, and other musical capitals throughout Europe and Asia. This season, Cambridge performs a variety of concerts including the “Sisters in Song” concert series with Lake Forest Symphony, an American Songbook Concert with The Marcus Center for Performing Arts, From the Diary of Sally Hemings with The Crypt Sessions in NYC, “Leading Lady: Heroines of Opera, Broadway, and The Silver Screen” with Irvine Barclay Center, and a gala concert with the Philharmonic Society of Orange County. She will also perform Hanna Glawari in The Merry Widow with Florentine Opera and The Metropolitan Opera, sings in Monticello Overheard with Victory Hall Opera and will perform in Rocktopia on Broadway.
Her repertoire includes the beloved heroines of Puccini, Verdi, and Mozart (Mimì, Madama Butterfly, Donna Elvira, Violetta, and Micaëla among them) as well as successful forays into the crossover, Broadway and jazz repertoire, most notably with award-winning and critically-acclaimed performances of Julie in Show Boat and Vi in Gershwin’s rarely performed jazz-opera Blue Monday. Alyson’s début album, “From the Diary of Sally Hemings,” a song-cycle by acclaimed American composer William Bolcom, premièred at Carnegie Hall’s Weill Recital Hall to rave reviews, and her newest album, “Until Now”, a mix of jazz, pop, and musical theater standards was released in January 2016 on the Naxos imprint Suite 28 Records, and is available on iTunes, Amazon and Spotify. For more information about “Until Now” on tour please visit our UIA Presents website.
Engagements for the 2015-16 season included several role and house débuts. Alyson returned to Florentine Opera for her role début in the title role of Madama Butterfly, débuted with the Spoleto Festival USA for her début as Bess in Porgy and Bess, a return and débuts with both Dallas Opera and Kentucky Opera in one of her most celebrated roles, Julie in Show Boat. She also débuted with Washington Performing Arts in solo concert, premiering two new commissions written for her, and in William Bolcom’s song cycle, “From the Diary of Sally Hemings.”
Engagements for the 2014-15 season included: her company début with San Diego Opera as Mimì their 50th Anniversary season-opening new production of La bohème; Musetta in a new production of La bohème at Washington National Opera, directed by Peter Kazaras and conducted by Philippe Auguin; her début with the Madison Symphony Orchestra as a featured soloist in their Holiday Concert Series; a recital with the Waterford Concert Series in Waterford, VA; in concert with the Spoleto Festival USA for Barber’s Knoxville: Summer of 1915.
Other highlights of Ms. Cambridge’s 14-15 season included her featured appearances at BET’s Soul Train Music Awards, marking the first performance by an opera singer on the awards show, which was broadcast live on BET and Centric TV networks; the Kennedy Center’s Holiday Concert for U.S. Troops, performing alongside Kristen Chenoweth, Gary Sinese, Marlee Matlin, and more, which will be broadcast on PBS; a Recital at The Supreme Court of the United States with bass-baritone Eric Owens; and the Viennese Opera Ball of New York at the Waldorf=Astoria, at which she hosted and performed.
Operatic highlights of Ms. Cambridge’s recent season include her débuts at London’s Royal Albert Hall (Francesca Zambello production) and Florentine Opera as Mimì in La bohème , and the title role in a newly-commissioned opera, Clarimonde, by renowned French composer and conductor Frederic Chaslin. On the concert stage, she joined the illustrious Mo. Craig Jessop and his American Festival Chorus and Orchestra, returned to the Omaha Symphony for Villa-Lobos’ Bachianas Brasileiras and Previn’s Honey and Rue with Mo. Thomas Wilkins, and joined the Milwaukee Symphony for their New Year’s Eve Gala. She was also a featured soloist on the nationally-televised 75th Anniversary Marian Anderson Celebration Concert in Washington, D.C.
Recent notable highlights include: her Lyric Opera of Chicago début season as Giulietta in Les contes d’Hoffmann and Julie in SHOW BOAT; three seasons with Washington National Opera (Musetta in La bohème, Clara in Porgy and Bess, Julie in Show Boat); her Deutsche Oper Berlin début (Donna Elvira in Don Giovanni); Polish National Opera (Violetta in La traviata); three seasons with Opera Theatre of St. Louis (Mimì, Juliette in Roméo et Juliette, Frasquita in Carmen); Los Angeles Opera (Clara in Porgy and Bess); two seasons with PORT Opera (Donna Elvira and Musetta); Boston Lyric Opera (Mimì); and solo concert performances with the Vienna Kamerorchester and Munich Philharmoniker with tenor Joseph Calleja, San Francisco Symphony, National Symphony Orchestra, Festival de Saint-Denis, a special recital for the US Justices of the Supreme Court, and the internationally radio and TV broadcast concert special “Music and the Spoken Word” as the featured artist with The Mormon Tabernacle Choir. Ms. Cambridge has also enjoyed performances under the batons of James Levine, Seiji Ozawa, Sir Simon Rattle, Frederic Chaslin, and Emmanuel Villaume.
Ms. Cambridge’s prodigious career got off to an auspicious start – as a graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program and Grand Prize Winner of the Metropolitan Opera National Council Auditions, she made her MET début in 2004 as Frasquita in Carmen under the baton of James Levine and has since sung numerous roles with the MET over the past seven seasons, including roles in two live HD broadcasts (Thaïs and La rondine).
Ms. Cambridge received both a B.M. in Voice Performance from the Oberlin Conservatory of Music and a B.A. in Sociology from Oberlin College and continued her studies at the Curtis Institute of Music before being offered a place in the MET’s young artist program. Among numerous awards and prizes, Ms. Cambridge has been awarded First Prize in the Licia Albanese-Puccini Foundation International Voice Competition, was a George London Foundation Award recipient, and won the Régine Crespin Award at the Elardo International Opera Competition.