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.
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, 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 production and recording 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, sings the soprano solo in Verdi’s Requiem at Waterbury Symphony, 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.