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“Vissi d’arte”, Puccini’s Tosca

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“Ernani involami”, Verdi’s Ernani


“Vissi d’arte”, Puccini’s Tosca

“Ernani involami”, Verdi’s Ernani

BACK TO  SINGERS I OUR ARTISTS

Elaine Alvarez

Soprano

“Another star is born…” declared the American Press after Cuban-American Soprano Elaine Alvarez made her break-out company début with Lyric Opera of Chicago as Mimí in La bohème. Directed by Renata Scotto and conducted by Sir Andrew Davis, the Chicago Tribune praised: “Conveying lyric pathos seems to come as naturally to Alvarez as breathing.” Recent engagements have included debuts as Tosca, on tour with Choregies d’Orange, the title role of Kat’a Kabanova with Boston Lyric Opera, and a major Verdi debut as Elvira in Ernani for the Royal Opera de Wallonie, with stage direction by Jean-Louis Grinda and musical direction by Maestro Paolo Arrivabeni. Future engagements will see Ms. Alvarez join the roster of The Metroplitan Opera, understudying her signature role of Mimí in La bohème, concert performances of Beethoven’s Symphony No. 9 and Vaughan William’s Serenade to Music with Springfield Symphony and the Traverse City Symphony, a role debut with San Diego Opera, as well as a return to the Royal Opera de Wallonie as Hélène in Verdi’s Jérusalem with Speranza Scappucci at the podium.

Apr
2017

Apr-23
Beethoven’s Symphony No. 9
Soloist
Traverse City Orchestra
Traverse City, MI
Apr-29
Beethoven’s Symphony No. 9 / Vaughan William’s Serenade to Music
Soloist
Springfield Symphony
Springfield, MA
Feb
2018

Feb-17
Der Ring des Polykrates
Dallas Opera
Dallas, TX
Mar
2018

Mar-17
to
Mar-25
Florencia en el Amazonas
Florencia
San Diego Opera
San Diego, CA
Please click below to see full quote

…vibrant lyric soprano…
 La bohème – “Elaine Alvarez…looked and sounded fully prepared to take on this touchstone Puccini role. Far from displaying any obvious nerves, Alvarez looked and sounded like a poised veteran. As the consumptive seamstress Mimì, Alvarez on Monday revealed an appealingly natural stage presence and a big, vibrant lyric soprano the color of deep burgundy. The voice bloomed under pressure the way you want a Puccini voice to bloom, yet kept its warm tonal finish when she floated the high pianissimos opera lovers wait for in rapt anticipation. Conveying lyric pathos seems to come as naturally to Alvarez as breathing. She reserved her most deeply affecting singing for the third act, investing her duets with Quinn Kelsey as the Bohemian painter Marcello and Roberto Aronica as her lover, the poet Rodolfo, with shimmering beauty. When the estranged lovers agreed to remain together until the first rustles of spring, even audience members who have seen hundreds of Bohèmes got misty-eyed. Alvarez saved the day, and then some. After her smooth, confident Lyric debut, the opera world surely will be taking notice.” – Chicago Tribune 
…appealing quivers of emotion…
La hija de Rappaccini“The cast was excellent, led by the tenor Daniel Montenegro as Giovanni and the soprano Elaine Alvarez as Beatriz, both with appealing quivers of emotion in their voices…” – The New York Times
…luminous…
 La bohème“…as if her understudy, Cuban-American soprano Elaine Alvarez, who blossomed into a luminous performance on Monday, had been Lyric’s choice for Puccini’s doomed Mimì all along. [Alvarez’s] Mimì was clearly passionate, and the dark cast to her strong, well-projected soprano added depth and emotional richness to her initial duet with Roberto Aronica’s Rodolfo. By the festive Café Momus scene in Act 2, her singing had become juicy and lyrical, and her wrenching Act 3 encounter with Rodolfo, frantic at the thought of Mimì’s impending death, was luminous.” – The Chicago Sun-Times 
…healthy, hearty, agile voice…
Kennedy Center Recital“Alvarez is a charming artist – with a delightfully warm stage presence and a healthy, hearty and agile voice that is still coming into flower – and it does not surprise me that she made a terrific Mimì. She was quite wonderful in a closing set of Spanish and Cuban songs by Fernando Obradors and Eduardo Sánchez de Fuentes, in which she stepped out of what had sometimes seemed an interpretive corset and relaxed as though the hall were filled with old friends, which, by the end of the evening, seemed to be the case.The  Washington Post
…richness of color and crystalline timbre…
Orchestra Miami Recital – “The soprano Elaine Alvarez possesses a prodigious voice, not only for its potency, but for the richness of color and crystalline timber. The performance was practically irreproachable, abundant in its moments of brilliance. This young singer brought me to tears with a power rarely seen in concert halls during the Aria Baccianas Brasileiras No 5 by Villalobos, sung precisely as the composer conceived, with the famous bocca chiusa humming passage, ending with a final high note which is written to be aspirated. I have seen many famous divas that refuse to sing this passage with a totally closed mouth and who will not sing the final note aspirated, as indicated. However Alvarez, not only accomplished these demands, she delivers them with a profoundly genuine sentimentality. Completely unforgettable.El Nuevo Herald
“Another star is born…” declared the American Press after Cuban-American Soprano Elaine Alvarez made her break-out company début with Lyric Opera of Chicago as Mimí in La bohème. Directed by Renata Scotto and conducted by Sir Andrew Davis, the Chicago Tribune praised: “Conveying lyric pathos seems to come as naturally to Alvarez as breathing.” Recent engagements have included debuts as Tosca, on tour with Choregies d’Orange, the title role of Kat’a Kabanova with Boston Lyric Opera, and a major Verdi debut as Elvira in Ernani for the Royal Opera de Wallonie, with stage direction by Jean-Louis Grinda and musical direction by Maestro Paolo Arrivabeni. Future engagements will see Ms. Alvarez join the roster of The Metroplitan Opera, understudying her signature role of Mimí in La bohème, concert performances of Beethoven’s Symphony No. 9 and Vaughan William’s Serenade to Music with Springfield Symphony and the Traverse City Symphony, a role debut with San Diego Opera, as well as a return to the Royal Opera de Wallonie as Hélène in Verdi’s Jérusalem with Speranza Scappucci at the podium.

Ms. Alvarez has made major débuts at some of the world’s leading opera houses including Oper Frankfurt, with celebrated performances of Magda in La rondine alongside Joseph Calleja, and Mimí in the company revival of La bohème; a return to Mimí for Opera National de Bordeaux, Teatro Carlo Felice in Genoa, Virgina Opera and Arizona Opera; Micaëla in Carmen for Florida Grand Opera as well as for her return to the Lyric Opera of Chicago; the Countess in Mozart’s Le nozze di Figaro  with Opera Cleveland; La Comtesse de Breville in the world premiere of Stephen Hartke’s The Greater Good  for Glimmerglass Opera; another turn as Magda in La rondine for Lithuania’s Pazaislis Music Festival; a new production of La traviata for Theater St Gallen in Switzerland, and a Bayerische Staatsoper début as Violetta with Jonas Kaufmann, Simon Keenlyside and Keri-Lynn Wilson at the podium.

As a resident ensemble artist with Oper Leipzig, Ms. Alvarez was heard as Mimí in La bohème, Violetta in La traviata, and Pamina in Die Zauberflöte, and was featured in new productions of La rondine and Don Giovanni  in the role of Donna Anna. Ms. Alvarez returned to New York City for her professional début in 2013 as the title role of La hija de Rappaccini  by Daniel Catan for Gotham Chamber Opera, with sold out performances in New York, Los Angeles and Venice, Italy.

A dedicated recital and concert artist, Ms. Alvarez was a Grand Prize Winner of the Marilyn Horne Foundation Competition, making her New York recital début under the auspices of the Foundation in 2007. Ms. Alvarez then went on to perform as a featured artist in the Marilyn Horne Foundation Gala Recital at Carnegie Hall in 2010, alongside long-time mentor, pianist Warren Jones. Other notable recital engagements have included New York’s ¡Sí Cuba! Festival, a full-length recital with Orchestra Miami, and a Kennedy Center recital début with the prestigious Vocal Arts Society, garnering praise from the Washington Post: “[Alvarez] made a winning first impression…a charming artist – with a delightfully warm stage presence and a healthy, hearty and agile voice…”

On the concert stage, Ms. Alvarez appeared as a featured guest artist with the New World Symphony for Pulse 2.0, the company’s innovative concert series, integrating electronic music, lighting installations and modern stage-craft, to bring classical music to new audiences. Other distinguished concert credits include Mozart’s Mass in C minor with the Gewandhaus Orchestra at Hong Kong’s Cultural Performing Arts Center and a tour of Rossini’s Stabat Mater  with the Orchestra e Coro del Maggio Musicale Fiorentino under the baton of Maestro Riccardo Muti.

Ms. Alvarez is a graduate of the New World School of the Arts and holds Bachelor’s and Master’s degrees from Manhattan School of Music.

 

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