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Luretta Bybee

Mezzo-Soprano

Mezzo-soprano Luretta Bybee is proven to be an artist of remarkable range and versatility in her performances throughout the world. International recognition came early in her career when she sang the title role in the world tour of Peter Brook’s La tragédie de Carmen. Bizet’s heroine has since figured heavily in Ms. Bybee’s career success. The Seattle Times hailed: “Luretta Bybee…is a sexy, adroit Carmen whose wealth of experience shows in every phrase and gesture.”  She has performed the role for over 25 opera companies throughout the world. Bybee is now in demand as a dynamic and comedic singing actress in roles such as Mrs. Lovett in Sweeney Todd with Glimmerglass Opera and New Orleans Opera, Golde in Fiddler on the Roof with Shreveport Opera, and Dame Marthe in Faust, which she will reprise with Houston Grand Opera. In future seasons, she will appear with Dallas Opera.

May
2016

May-07
to
Jun-21
Der Fliegende Hollander
Mary
Seattle Opera
Seattle, WA
Jul
2016

Jul-09
to
Aug-26
Sweeney Todd
Mrs. Lovett
Glimmerglass Festival
Cooperstown, NY
Oct
2016

Oct-28
to
Nov-11
Faust
Dame Marthe
Houston Grand Opera
Houston, TX
Feb
2017

Feb-10
to
Feb-12
Sweeney Todd
Mrs. Lovett
New Orleans Opera
New Orleans, LA
Mar
2017

Mar-04
Fiddler on the Roof
Golde
Shreveport Opera
Shreveport, LA
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…played with brilliant authority…
Cendrillon “His despotic wife Mme. De la Haltiere, was played with brilliant authority by mezzo Luretta Bybee, whose presence commanded the stage.”Nola Defender 
…acted to perfection…
 Faust – “Marthe Schwerlein was sung by Luretta Bybee and acted to perfection as the seductive “older” widow bent on catching Mephistopheles as her second husband.” – Green Valley News 
…wealth of experience shows…
 Carmen – “Luretta Bybee…is a sexy, adroit Carmen whose wealth of experience shows in every phrase and gesture.” – Seattle Times 
…finely tuned and versatile vocal instrument…
Aida “Bybee manages to convey love and jealousy with complete believability through her finely tuned and versatile vocal instrument. One feels greatly for her character despite Amneris’ flaws.”  The Tennessean
…a nice comic turn…
Falstaff  “Luretta Bybee had a nice comic turn as the indispensable Dame Quickly.” Seattle Times
Mezzo-soprano Luretta Bybee is proven to be an artist of remarkable range and versatility in her performances throughout the world. International recognition came early in her career when she sang the title role in the world tour of Peter Brook’s La tragédie de Carmen. Bizet’s heroine has since figured heavily in Ms. Bybee’s career success. The Seattle Times hailed: “Luretta Bybee…is a sexy, adroit Carmen whose wealth of experience shows in every phrase and gesture.”  She has performed the role for over 25 opera companies throughout the world. Bybee is now in demand as a dynamic and comedic singing actress in roles such as Mrs. Lovett in Sweeney Todd with Glimmerglass Opera and New Orleans Opera and reprises her role of Dame Marthe in Faust with Houston Grand Opera. In future seasons, she will appear with Dallas Opera.

Recently, Ms. Bybee appeared as Mrs. Lovett in Sondheim’s beloved horror story, Sweeney Todd, at Vancouver Opera; Madame de la Haltière in Cendrillon with New Orleans Opera; Mary in Der fliegende Holländer with Opera Carolina and Seattle Opera; Dame Marthe in Faust with Arizona Opera; Madame Armfeldt in A Little Night Music with the Pine Mountain Music Festival; Little Buttercup in H.M.S. Pinafore at Shreveport Opera; and sang Beethoven’s Symphony No. 9 with Seattle Symphony and San Antonio Symphony.

She made her Seattle Opera début as Princess Maria in Prokofiev’s War and Peace, in a production directed by Francesca Zambello, released on video. She returned as a house favorite as Mary in Der fliegende Holländer, Paula in Daniel Catán’s Florencia en el Amazonas, Amanda in the world première of Daron Hagen’s Amelia, Klytämnestra in Elektra, Waltraute in Die Walküre, Second Norn and Waltraute cover in Götterdämmerung, and Fricka in both Das Rheingold and Die Walküre.  She appeared in Seattle Opera’s Der Ring des Nibelungen in 2005, 2009, and 2013.

Other appearances have included Herodias in Salome at the Arizona Opera, Orlando Opera, and Cleveland Opera; Ulrica in Un ballo in maschera with Opera Memphis; the title role in Britten’s The Rape of Lucretia for Opéra de Montréal; and Dalila in Samson et Dalila with Memphis Opera.

Ms. Bybee’s interpretations of Rossini characters earlier in her career garnered widespread recognition and praise. In addition to her appearances as Isabella at New York City Opera, she sang the role in Cologne, Dublin and at the Festival International de Santander. She made her Frankfurt Opera début in concert performances of Tancredi and sang the role of Falliero in the American première of Rossini’s Bianca e Falliero at Florida Grand Opera. Ms. Bybee also enjoyed great success as Farnace in Mozart’s Mitridate, re di Ponto at the Wexford Festival and in Queen Elizabeth Hall in London.

The Verdi Requiem marked Ms. Bybee’s début at Carnegie Hall. She also appeared as the mezzo-soprano soloist in a Verdi Gala with the Jacksonville Symphony and sang Bernstein’s Songfest to open the season at the 92nd St. Y in New York, and again in with Seiji Ozawa at the Tanglewood Festival. Additionally, she sang Händel’s Messiah with the Colorado and Houston Symphonies. Ms. Bybee created the role of Joanna in Carly Simon’s opera Romulus Hunt in its world première in New York. The production was directed by Francesca Zambello and recorded on Angel records.

A sought-after educator, clinician, and competition judge, Professor Bybee serves on the voice faculty at Loyola University’s College of Music and Fine Arts in New Orleans.

 

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