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“Libera me,” Verdi’s Messa da Requiem

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“In quelle trine morbide,” Puccini’s Manon Lescaut

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“Il tuo sangue e il mio amore volea,” Puccini’s Tosca

“Libera me,” Verdi’s Messa da Requiem

“In quelle trine morbide,” Puccini’s Manon Lescaut

“Il tuo sangue e il mio amore volea,” Puccini’s Tosca

BACK TO  SINGERS I OUR ARTISTS

Jill Gardner

Soprano

American soprano Jill Gardner sits among today’s leading operatic heroines. Gardner is consistently hailed for her portrayals of the leading ladies of the Verismo repertoire and Puccini heroines alike. Considered the next great interpreter of the title role of Tosca, she recently performed the role in several different productions; Opera Carolina, Hawaii Opera Theatre, Arizona Opera, Lyric Opera Baltimore, Toledo Opera, Mill City Summer Opera, and her role début at Boston Lyric Opera. Opera News calls Ms. Gardner’s interpretation of Tosca “fresh and focused” and states “In Gardner’s hands, her Act II aria, ‘Vissi d’arte,’ was not merely a famous showstopper but an opportunity to reveal layers of Tosca’s character…” This season, Ms. Gardner will reprise the role of Tosca with Piedmont Opera and Opera Coeur d’Alene; perform the role of Mildred in Happy Birthday Wanda June with Indianapolis Opera; Blanche DuBois with Hawaii Opera Theatre’s production of A Streetcar Named Desire, based on Tennessee Williams’ play of the same name; and will perform a solo at Anchorage Opera’s 55th Anniversary concert.

Aug
2017

Aug-18
to
Aug-20
Tosca
Tosca
Opera Coeur d’Alene
Coeur d’Alene, ID
Nov
2017

Nov-10
to
Dec-03
La fanciulla del West
Minnie
Virginia Opera
Norfolk, VA
Apr
2018

Apr-13
to
Apr-15
Macbeth
Lady Macbeth
Opera Tampa
Tampa, FL
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…sings them with fervor and assurance…
 Il trovatore – “Jill Gardner… starts strong and gets even stronger as the night progresses — which is a good thing, since her parts in the opera’s fourth and final act can be among the most challenging in the entire repertoire. She sings them with fervor and assurance.” Winston-Salem Journal 
…voice was fresh and focused…
 Tosca  “Soprano Jill Gardner, whose voice was fresh and focused, undertook the title role as if it were newly written. There was little of the conventional grand diva in her approach, and her character was all the more human for it. In Gardner’s hands, her Act II aria, “Vissi d’arte,” was not merely a famous showstopper but an opportunity to reveal layers of Tosca’s character…their grand showdown in Act II made one suspect they could revive the original source play, Victorien Sardou’s La Tosca, and make a success of it.” – Opera News
…she has surpassed herself…
 Suor Angelica/Il tabarro  “Among the singers, the pride of place goes to Jill Gardner. She was an impressive Tosca in Opera Carolina’s production in 2012, but here she has surpassed herself. There doesn’t seem to be anything standing between her and Puccini’s heroines – her identification with both parts seemed complete. Her voice also has become fresher, almost seamless, as if to float an extended high note is as natural as daylight. Furthermore, she moves like an actress, not an opera singer.” – Charlotte Observer 
…sailing through with airy grace…
 Pagliacci  “American soprano Jill Gardner negotiated Nedda’s music successfully, sailing through her “Stridono lassù” with airy grace… (she) also offered just the right kind of cocky arrogance in the play-within-a-play portion of Act II, matched beautifully by Palombi’s increasing frustration with her actions.” – Opera News 
…a complete package…
La bohème “The same can be said for Jill Gardner, singing the lead role of Mimi. Her voice, and especially her acting, soon settled into a complete package which touched the emotions of the packed house.” Classical Voice of North Carolina
American soprano Jill Gardner sits among today’s leading operatic heroines. Gardner is consistently hailed for her portrayals of the leading ladies of the Verismo repertoire and Puccini heroines alike. Considered the next great interpreter of the title role of Tosca, she recently performed the role in several different productions; Opera Carolina, Hawaii Opera Theatre, Arizona Opera, Lyric Opera Baltimore, Toledo Opera, Mill City Summer Opera, and her role début at Boston Lyric Opera. Opera News calls Ms. Gardner’s interpretation of Tosca “fresh and focused” and states “In Gardner’s hands, her Act II aria, ‘Vissi d’arte,’ was not merely a famous showstopper but an opportunity to reveal layers of Tosca’s character…” This season, Ms. Gardner will reprise the role of Tosca with Piedmont Opera and Opera Coeur d’Alene; perform the role of Mildred in Happy Birthday Wanda June with Indianapolis Opera; Blanche DuBois with Hawaii Opera Theatre’s production of A Streetcar Named Desire, based on Tennessee Williams’ play of the same name; and will perform a solo at Anchorage Opera’s 55th Anniversary concert.

Ms. Gardner has quite a history of roles as a leading lady in opera’s most interesting repertoire. Some highlights from these include the title roles of Tosca with Boston Lyric Opera, in her role début, and Toledo Opera, Manon Lescaut with Opera Grand Rapids, Madama Butterfly in her role début with Arizona Opera and at Piedmont Opera, and Suor Angelica with Opera Carolina; Lady Macbeth in Macbeth with Michigan Opera Theatre and Chautauqua Opera; Tatiana in Eugene Onegin with Eugene Opera; Mimì in La bohème in her début with Boston Lyric Opera; Marguerite in Faust in her début with Madison Opera; Minnie in La fanciulla del West with Opera Coeur d’Alene, in her role début; and Nedda in Pagliacci with Michigan Opera Theatre, Mill City Opera, and her début with Lyric Opera of Chicago. Other highlights from recent seasons include portrayals of Leonora in Il trovatore with Piedmont Opera, Liù in Turandot with Arizona Opera, and Helmwige in Die Walküre with Madison Opera; and a spot in the roster of the Washington National Opera.

No stranger to concert and theatre stages, Ms. Gardner performed Beethoven’s Mass in C Major with the Wichita Symphony, Beethoven’s Symphony No. 9 and Vaughan Williams’ Serenade to Music with the Syracuse Symphony, Verdi’s Requiem in Dallas, a Puccini concert with the Washington Chorus, Madame Lidoine in Poulenc’s operatic tragedy Dialogues des carmélites with Portland Symphony and Winston Salem Symphony; gala concerts with Opera Carolina and Greensboro Opera, a holiday concert with the Binghamton Philharmonic, a concert with Charlotte Symphony, appearances as Margaret Johnson in the first opera house production of The Light in the Piazza with Piedmont Opera, her Hawaii Opera Theatre début as Countess Charlotte Malcolm in Sondheim’s A Little Night Music.

Ms. Gardner was a member of the Young American Artist Program at Glimmerglass Opera, where she created the role of Madame Loiseau in the world-première of Stephen Hartke’s The Greater Good, which was recorded on the Naxos Label. Also at the Glimmerglass Opera, Ms. Gardner added two new roles to her repertoire: Elle in Poulenc’s La voix humaine and the title role of Jenůfa.

She has been the recipient of the Richard F. Gold Career Grant of the Shoshana Foundation-NYC, a Special Opportunity Award from the New York Foundation of the Arts, and an Emerging Artist Grant from the Winston-Salem/Forsyth County Division of the North Carolina Arts Council. She holds a Master of Music degree in vocal performance from the University of North Carolina at Greensboro and a Bachelor of Music degree in piano performance from Centenary College of Louisiana.

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