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“Donde lieta,” Puccini’s La bohème

“Donde lieta,” Puccini’s La bohème

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Laquita Mitchell

Soprano

Soprano Laquita Mitchell consistently earns acclaim at eminent international opera companies, leading performances with Los Angeles Opera, San Francisco Opera, Houston Grand Opera, Lyric Opera of Chicago, New York City Opera, Washington National Opera, and Opéra Comique in Paris, among many others.  In her compelling début as Bess in Porgy and Bess with the San Francisco Opera, Opera News said “Laquita Mitchell, in her first outing as Bess, dazzled the SFO [San Francisco Opera] audience with her purity of tone and vivid theatrical presence.” She reprised the role with The Atlanta Opera, The Tanglewood Festival, Westminster Choir College, Kansas City Symphony, Madison Symphony, Boston Symphony Orchestra, and Cleveland Orchestra. Additionally, PBS invited Ms. Mitchell to perform excerpts from Porgy and Bess for the Television Critics’ Association Press Tour in preparation for the broadcast and DVD release of SFO’s Porgy and Bess.

 

Sep
2014

Sep-28
Difficulty of Crossing a Field
Virginia Creeper
Beth Morrison Projects
New York, NY
Jan
2015

Jan-19
Martin Luther King Jr. Tribute Concert
Soprano Solist
Philadelphia Orchestra-Girard College Chapel
Philadelphia, PA
Feb
2015

Feb-07
Porgy and Bess
Bess
Jacksonville Symphony Orchestra
Jacksonville, FL
May
2015

May-09
Portrait of Americana
Soprano Soloist
Sheboygan Symphony
Sheboygan, WI
May-16
Porgy and Bess
Bess
Santa Barbara Symphony
Santa Barbara, CA
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…supple and refined soprano…
Porgy and Bess - “Laquita Mitchell showed off a supple and refined soprano as Bess, infusing the role with a touching vulnerability and innocence yet at the same time an awareness of her own weakness that gave her portrayal a weightier pull.” Boston Globe
…most alluring singing…
 Carmen - “The evening’s most alluring singing came from Laquita Mitchell, as the peasant girl Micaela.” – Cincinnati Enquirer 
…velvety voice…
 La traviata - “…Mitchell displayed a velvety voice and strong acting chops. Her skills came together splendidly in the contemplative aria in Act I — “Ah fors’e lui … Sempre libera.”” Daily News
…focused fullness, purity, and control…
Don Giovanni - “Perhaps the stand-out Sunday was soprano Laquita Mitchell as Donna Elvira, the woman tortured by her love for a man she knows to be a lying scoundrel. Mitchell’s acting is good, catching both Elvira’s lust and her righteous devotion to the cause of love in each glance and gesture. Her voice is even better, with focused fullness, purity and control across its entire range.”Asbury Park Press
…lovely tonal sheen and soaring high notes…
Porgy and Bess - “The cast was of a very high level, with many Porgy veterans featured. Laquita Mitchell looked and moved beautifully, and her fine voice has a lovely tonal sheen and soaring high notes. When she spoke, she was eloquent….”– Opera News
…singing with virtuoso quality…
Porgy and Bess - “Laquita Mitchell visually made is understandable why so many of the characters were awed by her beauty. She fit the part in every way from her performance to her singing with virtuoso quality. Her high noted never grated but were soulfully expressed.”Worrall Newspaper
…sweet, soaring tone…
La bohème - “…sweet, soaring tone notable for its strength and beauty.”The San Francisco Chronicle
Composer Opera Role
Bizet Carmen Micaëla
Les pêcheurs de perles Leïla
Britten The Rape of Lucretia Female Chorus
Gershwin Porgy and Bess Bess
Gounod Faust Marguerite
Roméo et Juliette Juliette
Leoncavallo Pagliacci Nedda
Massenet Manon Title role
Mozart La clemenza di Tito Vitellia
Così fan tutte Fiordiligi
Don Giovanni Donna Anna, Donna Elvira
Idomeneo Ilia, Elettra
Le nozze di Figaro Contessa
Puccini La bohème Mimì, Musetta
Madama Butterfly Cio-Cio San
Turandot Liù
Strauss, J. Die Fledermaus Rosalinde
Verdi Aïda Title role
Falstaff Alice Ford
Otello Desdemona
La traviata Violetta
Il trovatore Leonora
Wagner Lohengrin Elsa
Composer Work  
Bach Magnificat
Mass in B Minor
Beethoven Ninth Symphony
Brahms Requiem
Fauré Requiem
Händel Messiah
Haydn Creation
Honegger Le roi David
Mahler Symphony No. 8
Mendelssohn Elijah
Mozart Exsultate Jubilate
Requiem
Poulenc Gloria
Rossini Stabat Mater
Schubert Mass in G Major
Tippett A Child of Our Time
Verdi Requiem
Vivaldi Gloria
Soprano Laquita Mitchell consistently earns acclaim at eminent international opera companies, leading performances with Los Angeles Opera, San Francisco Opera, Houston Grand Opera, Lyric Opera of Chicago, New York City Opera, Washington National Opera, and Opéra Comique in Paris, among many others.

In her compelling début as Bess in Porgy and Bess with the San Francisco Opera, Opera News said “Laquita Mitchell, in her first outing as Bess, dazzled the SFO [San Francisco Opera] audience with her purity of tone and vivid theatrical presence.” She has since reprised the role with The Atlanta Opera, The Tanglewood Festival, Westminster Choir College, Kansas City Symphony, Madison Symphony, Boston Symphony Orchestra, and Cleveland Orchestra. Additionally, PBS invited Ms. Mitchell to perform excerpts from Porgy and Bess for the Television Critics’ Association Press Tour in preparation for the broadcast and DVD release of SFO’s Porgy and Bess. This season, Laquita joins Beth Morrison Projects for a televised production of David Lang’s The Difficulty of Crossing a Field in the role of Virginia Creeper; sings a special Martin Luther King Jr. Tribute Concert with Philadelphia Orchestra, and sings Bess for Santa Barbara Symphony, Jacksonville Symphony, and Sheboygan Symphony.

In her role début as Violetta in La traviata with New York City Opera, she was labeled “extraordinary,” thanks to her “wide expressive range and big-hearted sound that contains just a hint of sexy smokiness. Her “Sempre libera” was enlivened by a rhythmic clarity that made it seem almost danceable.”  Other notable appearances include Leonora in Il trovatore in South Carolina as well as with Nashville Opera; the role of Sharon in Terrance McNally’s Master Class at the Kennedy Center; Musetta in La bohème in a return to the Los Angeles Opera; Mimì in La bohème with Cincinnati Opera, and at the Utah Symphony and Opera; Donna Anna in Don Giovanni with Florentine Opera, Portland Opera, and Opera New Jersey; Clara in Porgy and Bess with Los Angeles Opera, Washington National Opera, Opéra Comique in Paris and on tour in Caen and Granada, Spain; and Micaëla in Carmen with New York City Opera, Opera Pacific, and most recently, Cincinnati Opera, where the Cincinnati Enquirer hailed “Mitchell shone in the role of Micaëla, the peasant girl who loves Don José. She was a natural actress, and sang with expressive beauty whenever she was onstage.”

Also an active concert artist, Ms. Mitchell recently performed Over the Rainbow – an evening honoring Harold Arlen at Weill Recital Hall at Carnegie Hall. Additional performances include Barber’s Knoxville: Summer of 1915 with the Louisville Orchestra, a début with the New World Symphony in Alberto Ginastera’s Cantata para la América Mágica, the world première of composer Steven Stucky’s August 4, 1964 with Dallas Symphony Orchestra, her Boston Symphony Orchestra début as the soprano soloist in Wynton Marsalis’ All Rise under the direction of Kurt Masur, and the soprano solo in Tippett’s A Child of our Time with the Washington Chorus at Kennedy Center. She has also performed with the Philadelphia Orchestra, New Jersey Symphony, Princeton Symphony Orchestra, the New York Symphonic Ensemble at Alice Tully Hall, and with Branford Marsalis and the Garden State Philharmonic.

Ms. Mitchell is an alumna of the Houston Grand Opera Studio, where she performed a variety of roles including stand-out performances in contemporary operas such as Orquidea in Daniel Catán’s Salsipuedes (world première), Myhrrine in Mark Adamo’s Lysistrata (world première), Barena in David Alden’s production of Jenůfa, and The Water in Rachel Portman’s The Little Prince (world première) directed by Francesca Zambello and conducted by Patrick Summers.

Ms. Mitchell was previously a member of the San Francisco Opera’s world-renowned Merola Program. She then joined Wolf Trap Opera in performances as Alice Ford in Antonio Salieri’s Falstaff, Donna Elvira in Don Giovanni, and presented a recital with renowned pianist Steven Blier.

A native of New York City, Ms. Mitchell was a 2004 Metropolitan Opera National Council Auditions Grand Prize Winner, and was awarded a Sara Tucker Award. She was also the First Prize Winner of the Wiener Kammer Oper’s Hans Gabor Belvedere Competition, making her the first American to win this competition in over twenty years. Additionally, Ms. Mitchell was the First Prize Winner of the Houston Grand Opera Eleanor McCollum Competition for Young Singers, as well as the winner of the Audience Choice award. Ms. Mitchell holds a Master of Music degree and the Professional Studies Certificate at the Manhattan School of Music, and completed undergraduate studies at Westminster Choir College.

 

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