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Kurt Weill’s “Jenny’s Lied”


Kurt Weill’s “Jenny’s Lied”

BACK TO  SINGERS I OUR ARTISTS

Cree Carrico

Soprano

Praised by Opera News for her “gleaming tone,” soprano Cree Carrico is an emerging singing actress quickly gaining recognition as an interpreter of 20th and 21st century works. This season, Cree will perform the role of Amour in Orphée et Eurydice and Sagredo/Eos in Galileo Galilei with De Moines Metro Opera, the role of Gilda in Rigoletto with Syracuse Opera, a double bill as Williamson Girl/Soprano in Difficulty of Crossing a Field/Little Match Girl Passion with Portland Opera, Beatrice in Three Decembers with Opera Memphis, as well as performing as a soloist at the LA in Brooklyn event with Beth Morrison Projects.

Nov
2016

Nov-18
to
Nov-19
LA in Brooklyn
Soloist
Beth Morrison Projects
Brooklyn, NY
Feb
2017

Feb-10
to
Feb-12
Rigoletto
Gilda
Syracuse Opera
Syracuse, NY
Apr
2017

Apr-01
to
Apr-08
Three Decembers
Beatrice
Opera Memphis
Memphis, TN
Jul
2017

Jul-28
to
Aug-05
Difficulty of Crossing a Field
Williamson Girl
Portland Opera
Portland, OR
Jul-28
to
Aug-05
Little Match Girl Passion
Soprano
Portland Opera
Portland, OR
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…crystal-clear soprano…
 The Difficulty of Crossing a Field – “Carrico, a notably versatile performer, plays up the humor in her part with a girlish impetuosity that spills naturally from her crystal-clear soprano-belt mix.”– Opera News
…roguishly spirited…
Orphée et Eurydice “Soprano Cree Carrico was a roguishly spirited Amour.”– Opera News
…vibrant and powerful…
 Ballad of Baby Doe – “Lovely Cree Carrico, in the title role, is slender and small in stature, yet she produced a voice which was vibrant and powerful in its middle register, and which soared to a crystalline top, solid in sound, yet tempting us to expect an extremely high note, then seemingly effortlessly, rising even higher. Brava, diva!” – Jamestown Post Journal 
…gleaming, focused ping to her tone…
The Rise and Fall of the City of Mahoganny – “Carrico, who had a gleaming, focused ping to her tone and a Louise Brooks haircut, commanded the stage with her studied affectlessness.”Opera News 
Praised by Opera News for her “gleaming tone,” soprano Cree Carrico is an emerging singing actress quickly gaining recognition as an interpreter of 20th and 21st century works. This season, Cree will perform the role of Amour in Orphée et Eurydice and Sagredo/Eos in Galileo Galilei with De Moines Metro Opera, the role of Gilda in Rigoletto with Syracuse Opera, a double bill as Williamson Girl/Soprano in Difficulty of Crossing a Field/Little Match Girl Passion with Portland Opera, Beatrice in Three Decembers with Opera Memphis, as well as performing as a soloist at the LA in Brooklyn event with Beth Morrison Projects.

In past seasons, Cree performed Lauretta in the prestigious Merola Opera Program’s production of Gianni Schicchi at San Fransisco Opera, the title role of Evangeline in Concert with Longfellow Chorus, and Younger Alyce in Memphis Opera’s production of Glory Denied. Cree debuted with the Fort Worth Opera as Rosemary Kennedy in the world premiere of David T. Little and Royce Vavrek’s JFK. Cree can also be heard on the cast recording of David Lang’s chamber opera The Difficulty of Crossing a Field produced by Beth Morrison Projects.

A member of Actor’s Equity, Cree earned her union card as an ensemble member in the New York Philharmonic’s performance of Rodgers and Hammerstein’s Carousel, sharing the stage with Nathan Gunn, Kelli O’Hara, and Stephanie Blythe. She was also seen in Carnegie Hall’s one night only performance of Guys & Dolls, starring Nathan Lane and Megan Mullally.  Previous musical theater roles include both Fraulein Kost and Fraulein Schneider in Cabaret, Celeste I/Harriett in Sunday in the Park with George, and the ensembles of Ragtime and Jesus Christ Superstar. During her final semester at Oberlin, Cree played Comrade Charlotte in Flora, the Red Menace, working closely with the legendary John Kander on a new version of the musical.

Cree added the demanding title role in Douglas Moore’s The Ballad of Baby Doe, in her performance with Chautaqua Opera, to her growing repertoire of 20th and 21st centuries leading ladies. She made her New York debut as Marie Antoinette in Corigliano’s The Ghosts of Versailles while earning her Master’s degree at Manhattan School of Music. For her performance as the anti-heroine Jenny Smith in Weill’s Aufstieg und Fall der Stadt Mahagonny, The New York Times extolled her “wounded smoothness.”

Since giving the New York première of Jake Heggie’s monodrama At the Statue of Venus, Cree collaborates closely with a number living composers and librettists. She sang Lisa in Little and Vavrek’s Dog Days at the Opera America New Works Forum. During BAM’s Next Wave Festival, Cree appeared on both nights of Beth Morrison’s 21c Liederabend, op. 3, singing Julian Wachner’s Come My Dark Eyed One and the world première of Marie Incontrera and Royce Vavrek’s Albert, Bound or Unbound. Cree has also performed on Royce Vavrek and Lauren Worsham’s 21st century downtown salon, The Coterie.

Unphased by the intimacy of solo performance, Cree created The Ophelia Project, a daring and ever-evolving program of songs, arias and monologues that bends the boundaries of a traditional recital to explore the psychology of Shakespeare’s tragic heroine. The Ophelia Project was chosen to inaugurate Opera America’s Emerging Artist Recital Series at the National Opera Center in October 2013.

In addition to her contemporary repertoire, Cree performed the soprano solos in Messiah with New Mexico Philharmonic, Dvorak’s Stabat Mater with The Brearley Singers at Alice Tully Hall, and Orff’s Carmina Burana with Great Lakes Symphony Orchestra. In past season she made her role début as Gilda in Verdi’s Rigoletto at the Verdi Square Festival.

Cree received a Bachelor’s of Music from the Oberlin Conservatory and a Master’s of Music from Manhattan School of Music. She was a finalist in the Ades Competition, the Lotte Lenya Competition and the Houston Grand Opera Studio.

 

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