Lyric soprano Jennifer Black is “gleaming and glorious, with wonderful nuances of light and shade and complete dynamic control.” (Santa Fe New Mexican) and is in high demand on international opera and concert stages. Recently, she dazzled audiences in her show-stopping performance as Lida in La battaglia di Legnano with Sarasota Opera, for which critics hailed “Jennifer Black, as Lida, his wife, who loves him and the son he’s given her, but who also loves Arrigo, her former lover whom she thought dead, is a brilliant soprano with a cutting but beautiful voice and the air of a leader’s wife.” Black will be returning to Sarasota Opera this season to perform the role of Adalgisa in their production of Bellini’s Norma and reprises the role Mimì in La bohème with Utah Opera.
Last season, Ms. Black performed Merilee the Giantess in Sherlock Holmes and the Case of the Fallen Giant with American Lyric Theatre, Countess in La mere coupable with On Site Opera, Violetta in La traviata with Sacramento Philharmonic, sang the soprano solo in Mozart’s Coronation Mass with Mid-America Productions, and performed Beethoven’s Symphony No. 9 with Phoenix Symphony and Albany Symphony.
Having graced some of the finest opera stages around the globe, favorite engagements for Ms. Black include Adina in L’elisir d’amore with the Teatro Municipal in Santiago, Chile; a role début of Norina in Don Pasquale as well as Musetta in La bohème with Théâtre du Capitole de Toulouse; Mimì in La bohème in her Seattle Opera début; her Los Angeles Opera début in new production of Il trittico; her role début as Desdemona in Otello and Juliette in Roméo et Juliette with Arizona Opera; and Bea in Jake Heggie’s Three Decembers with Atlanta Opera. She also performed and thrilled audiences as Donna Elvira in Don Giovanni and as Elle in the one-woman production La voix humaine for the Castleton Festival under the baton of Maestro Lorin Maazel.
Ms. Black completed the Metropolitan Opera’s Lindemann Young Artist Program and has performed at the esteemed house as Lisa in La sonnambula, Micaëla in Carmen, and Javotte in Manon. Also with the Metropolitan Opera, she made appearances in La bohème, The Makropulos Case, La rondine, Macbeth, La donna del lago, and on tour to Japan in La bohème.
Of Ms. Black’s performance as Violetta in La traviata with Opera Carolina, critics hailed that she “was an outstanding Violetta with the perfect blend of vocalism and acting,” (Classical Voice of North Carolina), and she later went on to perform the role with Nashville Opera. With Santa Fe Opera, she made her début as Micaëla in Carmen, and has since returned for role débuts as Mimì in La bohème and Adina in L’elisir d’amore. With the former New York City Opera, she made her company début as Musetta in La bohème, and subsequently returned as Micaëla in Carmen, both at Lincoln Center.
In concert, Ms. Black made her début with the New York Philharmonic as Amanda in Ligeti’s Le grand macabre, her Munich Philharmonic début performing Musetta in La bohème, performed Carmina Burana with New Choral Society and Southwest Florida Symphony, sang Schumann duets with Matthew Plenk and The Met Chamber Ensemble in Weill Recital Hall with Ken Noda at the piano, sang the part of Donna Elvira in Don Giovanni with Baltimore Symphony Orchestra, and was presented in recital by the George London Foundation at the Morgan Library in NYC. Recent concert appearances include her Santa Barbara Symphony début performing Mahler’s Symphony No. 2, a return to the Castleton Festival as the soloist in Mahler’s Symphony No. 4, and a series of recitals and master classes at universities around the country including UC Forth Worth, Colorado State, UT San Antonio, and Texas Lutheran University.
Ms. Black is an alumna of the San Francisco Opera’s Merola Program and a graduate of the Yale School of Music, where she performed Helena in A Midsummer Night’s Dream, Pamina in Die Zauberflöte, and the title roles of Káťa Kabanová and Suor Angelica.
Awards and recognition include an Opera Index Award, a George London/Leonie Rysanek Award, and second place in the Loren L. Zachary Society Competition. She was also a Metropolitan Opera National Council Awards finalist, a recipient of a Sullivan Grant, and a finalist in the Dallas Opera Guild Competition, the Houston Grand Opera’s Eleanor McCollum Competition, the Connecticut Opera Guild, and the MacAllister Awards.