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The Three Ladies Song, Die Zauberflöte, The Metropolitan Opera

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“Ho Jo To Jo,” Wagner’s Die Walküre

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Verdi’s Requiem

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“Ihr habt nun Traurigkeit,” Brahms’ Requiem


The Three Ladies Song, Die Zauberflöte, The Metropolitan Opera


“Ihr habt nun Traurigkeit,” Brahms’ Requiem

“Ho Jo To Jo,” Wagner’s Die Walküre

Verdi’s Requiem

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Amy Shoremount-Obra

Soprano

Amy Shoremount-Obra was recently hailed as “Incredible! Another vocal highlight of the evening. She performed with a tone steeped in longevity, endurance, and agility… This is a voice of true substance.” (Boston Music Intelligencer) She made her Metropolitan Opera début as First Lady in Julie Taymor’s acclaimed production of Die Zauberflöte. Since, she returned for productions of Lady Macbeth of the Mtsensk DistrictNormaNabucco, and Don Giovanni. She returns this season to reprise her role as First Lady in Die Zauberflöte. She also sings the soprano solo in Beethoven’s Symphony No. 9 and Vaugh Williams’s Serenade to Music with National Chorale. Last season, Shoremount-Obra performed a concert tour throughout the Hawaiian Islands with violinist Eric Silberger as part of the inaugural season of the Hawaii International Music Festival, which Ms. Shoremount-Obra herself co-founded. This season, she returns to tour again in Honolulu, Hawaii, and Maui. More information about the festival can be found at www.himusicfestival.com/. Ms. Shoremount-Obra also filmed her first major motion picture début as an opera singer in Untouchable, starring Bryan Cranston and Kevin Hart, which is set to be released in 2018.

May
2017

May-03
to
May-06
Don Giovanni
The Metropolitan Opera
New York, NY
Jun
2017

Jun-01
to
Jun-06
Das Rheingold
New York Philharmonic
New York, NY
Sep
2017

Sep-27
to
Oct-14
Die Zauberflöte
The Metropolitan Opera
New York, NY
Nov
2017

Nov-25
to
Dec-09
The Magic Flute
First Lady
The Metropolitan Opera
New York, NY
Apr
2018

Apr-13
Beethoven’s Symphony No. 9
Soloist
National Chorale
New York, NY
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…most satisfying Leonores I’ve experienced…
 Fidelio – “But what really stood out last night was the Leonore of Amy Shoremount-Obra. True, the venue was small, but she was a rock of tonal security and effortless- seeming power, her absolutely lovely soprano voice [which reminded me of Rysanek (including her easy high notes) on the Fricsay Fidelio recording] was ideal for the role. She never seemed to strain, but had all the clarion notes in the upper register this tough role demands and she actually interpolated higher ones!!! in the dramatic confrontation with Pizarro that begins “Er sterbe!” All in all, hers was one of the most satisfying Leonores I’ve experienced and if she can do this in a larger venue, she’s got a big future ahead of her. A Met National Council Regional winner, Shoremount-Obra’s already made her Met debut (2014 as the First Lady in Zauberflote) and I hope opera managers give her opportunities.” – Opera-L Blog 
…fiery depth…
Don Giovanni – “Amy Shoremount-Obra brought fiery depth to the sometimes-thankless role of Donna Anna. The only other time I’ve felt any sympathy towards Anna was when I saw Anna Netrebko sing her in Covent Garden. Shoremount-Obra was equally convincing and sang with sensitivity yet full-throated power, her voice shaking the rafters of the small building. It’s a tremendous experience hearing a voice that could fill a theater of 3000 so up close and personal. ”Huffington Post 
…voice like an angel …
Lucia di Lammermoor – “With a voice like an angel Diva, Amy Shoremount-Obra’s Lucia with Opera for Humanity was a celestial achievement. I became an instant fan. Along with her Edgardo, the brilliant tenor Jon-Michael Ball, the pair made an unforgettable performance at Symphony Space.”Big Apple News 
…rich, buttery soprano…
 Beethoven’s Symphony No. 9“Amy Shoremount-Obra’s rich, buttery soprano soared in the quartets without her screeching or even seeming to make an effort to cut through Beethoven’s thick textures. She carried her melodic lines with a fine sense of their arching reach.”New York Arts 
…showed fearless coloratura…
L’enfant et les sortilèges  “Amy Shoremount (Fire), an exuberantly loony, and eventually straitjacketed figure reminiscent of Mireille Delunsch’s La Folie in the Paris Opéra “Platée,” showed fearless coloratura, with a killer trill—a Fiakermilli waiting to happen.”
Amy Shoremount-Obra was recently hailed as “Incredible! Another vocal highlight of the evening. She performed with a tone steeped in longevity, endurance, and agility… This is a voice of true substance.” (Boston Music Intelligencer) She made her Metropolitan Opera début as First Lady in Julie Taymor’s acclaimed production of Die Zauberflöte. Since, she returned for productions of Lady Macbeth of the Mtsensk District, Norma, Nabucco, and Don Giovanni. She returns this season to reprise her role as First Lady in Die Zauberflöte. She also sings the soprano solo in Beethoven’s Symphony No. 9 and Vaugh Williams’s Serenade to Music with National Chorale.

Last season, Shoremount-Obra performed a concert tour throughout the Hawaiian Islands with violinist Eric Silberger as part of the inaugural season of the Hawaii International Music Festival, which Ms. Shoremount-Obra herself co-founded. This season, she returns to tour again in Honolulu, Hawaii, and Maui. More information about the festival can be found at www.himusicfestival.com/. She also performed two roles in Opera America’s New Opera Showcase, a solo performance in Rossini’s Petite messe solennelle with the New Choral Society, a performance for the Sherrill Milnes Gala at The Harmonie Club in New York City, a recital for the Wagner Society of New York, and a fundraiser concert for the Hawaii International Music Festival at The Old Church. Ms. Shoremount-Obra also filmed her first major motion picture début as an opera singer in Untouchable, starring Bryan Cranston and Kevin Hart, which is set to be released in 2018.

Following her “electrifying” portrayal of Donna Anna in Don Giovanni with Venture Opera, she was featured in the Sound Bites article of the May 2016 issue of Opera News, where they hailed: “Shoremount-Obra’s shining, healthy soprano had all the power and glory required for ‘Or sai chi l’onore,’ demonstrating agility, accuracy and beauty as well as gale-force temperament.” Other recent engagements have included Leonore in Fidelio with Grand Harmonie Orchestra; Donna Anna in Don Giovanni with Opera Las Vegas and the Savannah Voice Festival; Schubert’s Mass in G major at Carnegie Hall; Verdi’s Requiem with National Chorale at Lincoln Center; and a recital with the Savannah Voice Festival. Additional notable roles include Ifigenia in Händel’s Oreste with the Spoleto Festival in Italy, Marchesa in Verdi’s Un giorno di regno with Odyssey Opera of Boston, and a role début as Fiordiligi in Così fan tutte with Annapolis Opera. Ms. Shoremount-Obra collaborated with composer Mikael Karlsson and librettist Elle Kunnos de Voss on the one-woman monodrama The Echo Drift, which was written for her and premièred at the house of Sweden in Washington DC in 2014. As a concert artist, Ms. Shoremount-Obra has appeared in Mozart’s Coronation Mass and Haydn’s Lord Nelson Mass with the Scarsdale New Choral Society and as the Soprano Soloist in Fauré’s Requiem and Brahms’ Requiem, both at Carnegie Hall.

She performed in several prominent venues throughout the world including Carnegie Hall, Alice Tully Hall, David H. Koch Theater, the Oslo Konserthus and the Oslo National Gallery in Norway, The Tanglewood Institute, and The Sheldon in St. Louis. She has been a featured performer representing The Metropolitan Opera at the Annual Viennese Opera Ball in New York City for seven consecutive years. She made her début with the New York City Ballet in 2009 performing the role of First Fairy in Mendelssohn’s A Midsummer Night’s Dream.

Ms. Shoremount-Obra also finds success in the realm of contemporary and new music. Starting with her cover of John Zorn’s La machine de l’être, a one-woman monodrama, with New York City Opera, she has gone on to perform two workshop performances and the world première of Grammy Nominated Composer Tarik O’Regan’s monodrama The Wanton Sublime with American Opera Projects. She was also featured in the world première of Paola Prestini’s new opera De Deo in the role of Beattrice with New York City Opera VOX and was a resident artist with American Opera Projects’s “Composer and the Voice” Program, premièring new works all season for a team of up-and-coming composers.

She has been named a National Semi-Finalist and the New York Regional Winner of the Metropolitan Opera National Council Auditions, a Finalist in the George London Competition, a Finalist in the Giulio Gari International Vocal Competition, and a Semi-Finalist in the Competizione dell’Opera in Dresden. Additionally, she was awarded two consecutive career grants from the Metropolitan Opera National Council’s Education fund.

She is featured on two operatic world-première Recordings on Albany Records: as Jenny on the recording of Robert Ward’s Roman Fever and as Nina in Thomas Pasatieri’s The Seagull. Amy is a native of New Jersey, and currently continues her vocal studies with Diana Soviero. She is a graduate of The Manhattan School of Music and The Juilliard School.

 

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