Lori Phillips

Soprano

American Soprano Lori Phillips has been praised by The New York Times as “impressive with formidable vocal power”. Her voice and riveting stage presence have endeared her audiences and critics alike. Ms. Phillips made her role début as Brünnhilde in Die Walküre with Hawaii Opera Theater for which Opera News exclaimed, “Soprano Lori Phillips was a terrific Brünnhilde: her voice started out in excellent form and kept getting better, her clarion upper register sending chills down one’s spine”. She reprised the role in both Siegfried and Götterdämmerung in Seattle Opera’s production of the Der Ring des Nibelungen, quickly proclaiming herself one of the next great interpreters of the role. Seattle Times gushed: “Lori Phillips, was in excellent voice, pouring out high notes of thrilling quality and exhibiting a graceful ease throughout her middle register.”

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…relaxed into the piece earlier than the others…
 Der fliegender Holländer  “A powerful Senta, Lori Phillips’ bright sound energized the text and made her rendition exciting. She is just beginning to emerge as a true dramatic soprano but she is already singing with a distinctively colored sound. It has been many years since a soprano brought as much exhilaration to this role as Phillips did on Saturday night..” – Opera Today 
…consistently outstanding…
The Oresteia of Aeschylus “”Soprano Lori Phillips as Clytemnestra is consistently outstanding…beautifully in tune with the chorus, and outlining the general thrust of where the work is, musically, to take us.””International Record Review 
…thrilling soprano…
Turandot– “The star on opening night was Lori Phillips in the title role. Her thrilling soprano cut through the orchestral maelstrom with magisterial ease. She played the man-hating princess with steely hauteur, and she looked great, especially in her Klimt-ish gown for the closing scene.”Seattle Times
…luscious, full-bodied sound…
 Der fliegender Holländer “”American soprano Lori Phillips sings the role of Senta with steely intensity, colouring the drama with a luscious, full-bodied sound. Phillips keeps her facial and expressions pared back, focusing all expression through her voice. Playing a young woman who is unhealthily obsessed with a ghostly legend, Phillips avoids histrionics and melodrama, maintaining a demure, introverted feminine presence.”” – Simon Parris: Man in Chair
American Soprano Lori Phillips has been praised by The New York Times as “impressive with formidable vocal power”. Her voice and riveting stage presence have endeared her audiences and critics alike. Ms. Phillips made her role début as Brünnhilde in Die Walküre with Hawaii Opera Theater for which Opera News exclaimed, “Soprano Lori Phillips was a terrific Brünnhilde: her voice started out in excellent form and kept getting better, her clarion upper register sending chills down one’s spine”. She reprised the role in both Siegfried and Götterdämmerung in Seattle Opera’s production of the Der Ring des Nibelungen, quickly proclaiming herself one of the next great interpreters of the role. Seattle Times gushed: “Lori Phillips, was in excellent voice, pouring out high notes of thrilling quality and exhibiting a graceful ease throughout her middle register.”

Recently, Ms. Phillips performed Brünnhilde in the 2016 Der Ring des Nibelungen with Washington National Opera, sang the title role of Ariane in Ariane et Barbe-Bleue with Opera National du Rhin and performed Senta in Der Fliegende Holländer with Victorian Opera in Melbourne, Australia.

Ms. Phillips made her Metropolitan Opera début as Senta in Der fliegende Holländer, which was broadcast live on Sirius Satellite Radio, and has since returned for productions of Hänsel und Gretel, Mussorgsky’s Khovanshchina, Il tabarro, Turandot, and Der Ring des Nibelungen. She also made her Washington National Opera début as Senta, to which The Washington Post declared, “At the Kennedy Center, American soprano Lori Phillips took the part of Senta…and sang the aria superbly…Phillips made ‘Johohoe! Traft ihr das Schiff a heartfelt display. The vocal line leapt and contracted…Phillips—recently earning more parts on elite staged—skillfully applied color and detail; through a purposeful fragility, she unmasks Senta’a devotion that eventually culminates in a mandatory Wagnerian love-death.”

Ms. Phillips’ noted performances over the past few seasons have included her signature roles of Turandot for the Seattle Opera, Atlanta Opera, New York City Opera at Lincoln Center, Opera Lyra Ottawa, Portland Opera, Nashville Opera, and Opera Carolina; Ariadne in Richard Strauss’  Ariadne auf Naxos with the Vancouver opera, L’Opera de nice, and Opéra National de Paris (Bastille) on tour in Japan;  Gertrude in Hänsel und Gretel for Dallas Opera; Lady Macbeth in Verdi’s Macbeth with Arizona Opera; Leonora in Beethoven’s Fidelio with Portland Opera; Leonora in Il trovatore with Florentine Opera; Amelia in Un Ballo in Maschera for Opera Memphis, Seattle Opera and Vancouver Opera; Minnie in La Fanciulla del West with Utah Opera; the title role of Aida for Hawaii Opera Theater; Maddalena in Andrea Chenier for Nashville Opera; Santuzza in Cavalleria Rusticana for Vancouver Opera, Opera de Québec and Arizona Opera; and the title role in the world premiere of Jun Kaneko’s production of Madama Butterfly for Opera Omaha.

In concert, she has performed Beethoven’s Missa Solemnis and Choral Fantasy with the Washington national Cathedral; in a Dallapiccola double bill as The Mother in Il prigionero and Signora Fabien in Volo di Notte with the American Symphony Orchestra at Avery Fisher Hall; Beethoven’s 9th Symphony with the Utah Symphony and Opera and Vermont Symphony Orchestra; the Foreign Princess in concert performances of Rusalka with Fort Worth Symphony; and a tour throughout Japan with the Asian American Symphony Orchestra, including a concert at Tokyo’s International Forum. Lori recently performed rarely heard Russian Duets with her twin sister, Mezzo-soprano, Mary Phillips, with Vera Danchenko-Stern, Piano at the French Embassy in Washington, D.C.

This award-winning soprano’s concert and recording repertoire includes the a 2015 Grammy nominated performance in Milhaud’s L’Oresteia of Aeschylus, released on the Naxos label, Beethoven’s Missa Solemnis also released on Naxos under the musical direction of Maestro Kenneth Schermerhorn and the 2007 release of Ariane et Barbe-bleue on Telarc with Maestro Leon Botstein and the BBC Symphony, for which she received critical acclaim worldwide. Opera News said, “Aside from the brilliant orchestra, the other pillar here is the long, demanding part of Ariane, who must be both flexible and forceful. Soprano Lori Phillips masters the contradictory traits of this verbose heroine and shapes the irregular lines with idiomatic expressiveness.” An advocated of new music, Ms. Phillips frequently collaborates with New York City’s American Opera Projects where she created the role of The Mother in Hamer/Israel’s The Lost Childhood and created the role of Patience in the world premiere of Kimper/Persons’ opera Patience and Sarah at the Lincoln Center Festival, which won a GLAMA Award.

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