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BIOGRAPHY
Highly regarded for her effective portrayals of diverse and challenging characters, Judith Skinner possesses a true contralto voice of power and beauty. Her recent performances as Ulrica in Un Ballo in Maschera, Erda in Das Rheingold conducted by Richard Woitech, Mama Lucia in Cavalleria Rusticana, Mrs. Winthrop in The Secret Garden and Tituba in The Crucible, have all been enthusiastically praised by audiences and opera cognoscenti.
In recent seasons she has performed leading roles with Opera Memphis, Fresno Grand Opera, Utah Festival Opera, Toledo Opera, Indianapolis Opera and Opera San José. This season she débuts with the Dayton and Atlanta Opera Companies.
On the concert stage, Ms. Skinner has appeared as soloist in the Mozart Requiem with the Bronx Symphony, an "Evening of World Premieres " with the Riverside Opera Ensemble performing Simples composed by Stephen Dembski, and as soloist in Elgar's Sea Pictures Symphony with the New York Symphonic Arts Ensemble.
As a Resident Artist with Opera Memphis she sang the role of the Mother in Les Contes d'Hoffmann and created the role of Harriet Tubman in She Never Lost a Passenger. She also sang the role of Betty in Michael Ching's opera FAITH in New York and Chicago. Other New York appearances have included Magdelone in Nielsen's Maskerade, Marceline (Le Nozze di Figaro), La Principessa (Suor Angelica) and Baba in The Medium, perhaps her best-known role to date. Other unique opera roles include the Sorceress in Dido and Aeneas, the Mayor in The Happy Prince, Maurya in Riders to the Sea, and Lady Spirit in A Christmas Carol.
Of her Katisha in The Mikado critic Nino Pantano stated: "Judith Skinner's magnificent contralto and extraordinary comic and dramatic skills make for an auspicious and striking Katisha."
Ms. Skinner has been recognized with many distinctions including awards from the prestigious Leontyne Price Vocal Competition.
She received her undergraduate degree in Voice-Opera from The University of the Arts and studied drama at Carnegie-Mellon University.
PRESS ACCLAIM
As Madame Flora in The Medium
(Chelsea Opera): |
| "Chelsea Opera's opening-night performance was graced with a very strong cast. The dramatic weight of The Medium squarely rests on the shoulders of the title character, Madame Flora (Baba). Judith Skinner gave an astonishing portrayal: her powerful contralto gave her a commanding presence, and her sense of pitch and phrasing remained confident and sure as Baba's dissolve into madness led her into progressively more dissonant and fragmented music. Skinner proved to be a fine actress as well, one who did not shrink from the ever-increasing challenges of the role. This is an exciting young singer." |
Arlo McKinnon - Opera News - Feb 2, 2012
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| "Judith Skinner triumphs as Madame Flora. Her voice is that of a true, organ-like contralto. With her, one cannot really talk of 'chest voice' as her impressively sensuous instrument is a miraculous extension of her speech. This power translates well into the role of the over-bearing, maniacal Flora. Skinner is absolutely terrifying in the murderous second act, a prolonged mad scene for Madame Flora. Michael Megliola's erratic and melodramatic lighting is the perfect back-drop of Skinner's wild, unrestrained acting and singing. This wasn't gestural, vapid opera acting at its worst, but a visceral emanation of mortal fear through bellowing chest tones and granite-tinged high notes." |
OperaPulse - Nov 15, 2011
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As Maria in Porgy & Bess:
(Daytona Opera Début): |
| "Judith Skinner provides Sportin' Life's fearsome nemesis, an unstoppable, full-toned Maria." |
Eric Street - Dayton City Paper - Oct 27, 2010
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Ms. Skinner as Queenie in Show Boat:
(Utah Festival Opera): |
| "Skinner shines as Queenie - in many aspects the woman who runs the show." |
Barbara Stinson Lee - HJ News - July 31, 2007
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| "Major vocal and theatrical contributions came from Judith Skinner as Queenie." |
Robert Coleman - Special to The Tribune - July 18, 2007
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| As Ulrica in Verdi's Un Ballo in Maschera:: |
"I am VERY happy Judith Skinner accepted the opportunity to sing this powerful part and bring the house down with a magnificent portrayal of this imposing operatic personality. Ulrica's lair showed her to be the witch in charge."
"Her truly magnificent contralto mesmerized us."
"In the scherzo quintet and all the singing that included Ulrica, you could not help being her subject and cult member just to hear that Niagara Falls natural wonder of a voice. Her scenes with the disguised Riccardo were operatic confrontation at its best. He was merely the (disguised) colonial Governor of Boston, while she was the Queen of her domain and in effect the galvanizing force of his destiny. Marian Anderson would be very happy to see such a glorious performance. I am certain she was there in spirit. Judith Skinner was truly a sorceress physically imposing and vocally sublime." |
Nino Panto - The Italian Voice
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| As Harriet Tubman in Kander's She Never Lost A Passenger:: |
| "At times even the children on stage were taken aback by the outpouring of liquid gold pouring from the throat of Skinner." |
Sharon E. Dobbins - Tri State Defender
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| As Madame Flora/Baba in Menotti's The Medium:: |
| "Judith Skinner's electrifying Madame Flora/Baba deserves an Academy Award. Her portrayal of the phony clairvoyant who is driven to murder by voices in her head must bear comparison with the greatest interpretations of the role." |
Philip Anson - La Scena Vocale
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| "This was a much securer production with better singers in general. Judith Skinner made a flamboyant Baba." |
Bernard Holland - The New York Times
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| "Judith Skinner sang superbly and acted powerfully as Baba the medium." |
Herbert Kupferberg - New York Post
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| At Katisha in Gilbert & Sullivan's The Mikado:: |
| "Judith Skinner's magnificent contralto and extraordinary comic and dramatic skills make for an auspicious and striking Katisha. From her first entrance amidst claps of thunder to her 'Alive and Yet Alone' aria, one felt in the presence of a rising star!" |
Nino Pantano - Boro Park Community News
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| "The highlight of the second act was the appearance of contralto Judith Skinner, as Katisha. Skinner, voluptuous in her kimono of red and gold, contorted her face in anguish, glee, disappointment and wretchedness - all in the space of a few minutes. Her compelling voice, combined with her wonderful flair for physical comedy, made her the star of the second act. Even though her character wishes the heroic Nanki-Poo harm, her keening and wailing....were dramatic and genuine that the audience gave her a well deserved ovation" |
Liz Walser - The Brooklyn Spectator
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| As Tituba in Ward's The Crucible:: |
| "Judith Skinner's scary Tituba was outstanding work." |
Janos Gereben - San Francisco Classical Voice.org
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| "In her company début, Judith Skinner may have stolen the show with her acting, and an amazingly rich contralto, as Tituba." |
Keith Kreitman - Inside Bay Area
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| "... and contralto Judith Skinner made a superb company début - all chesty tone and meaty, vigorous phrasing as Tituba." |
Joshua Kosman - San Francisco Chronical
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| "Of special note was the happily emotional Caribbean slave woman Tituba sung by contralto Judith Skinner." |
Paul Hertelendy - Arts San Francisco.com
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| "The role of Tituba, the one black slave woman, was well-handled by Judith Skinner another IO first timer." |
Tom Aldridge - Nuvo.net
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| As Mamma Lucia in Mascagni's Cavalleria Rusticana:: |
| "Judith Skinner's Mamma Lucia was equally powerful as she blended her contralto voice with Jodi Karem's mezzo-soprano a tour de force." |
Libby Hughes - Cape Cod Today
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| As Marcellina in Mozart's Le Nozze de Figaro:: |
| "Judith Skinner possesses a magnificent contralto, giving us a Marcellina of surprising originality and comic insights." |
Paulina Kent Dennis - The Brooklyn Spectator
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CURRENT & UPCOMING ENGAGEMENTS
| Queenie |
Harold Prince's Showboat |
Fresno Grand Opera |
May 11 & 12, 2012 |
| Victoria |
William Mayer's A Death in the Family
(World Premiere) (based on the writings of James Agee) |
Center for Contemporary Opera, NYC |
Sep 14 & 15, 2012 |
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Budapest, Hungary & Avignon, France |
Oct 2012 |
OPERA EXPERIENCE
| Maria |
Porgy & Bess |
Atlanta Opera |
| Maria |
Porgy & Bess |
Dayton Opera |
| Maria |
Porgy & Bess |
Atlanta Opera |
| Madame Flora/Baba |
The Medium |
Empire Opera |
| Queenie |
Showboat |
Utah Festival Opera |
| Maria |
Porgy and Bess |
Opera Memphis |
| Ulrica |
Un Ballo in Maschera |
Regina Opera, NYC |
| Tituba |
The Crucible |
Opera San José |
| Tituba |
The Crucible |
Indianapolis Opera |
| Giovanna |
Rigoletto |
Utah Festival Opera |
| Tituba |
The Crucible |
Toledo Opera |
| Mama Lucia |
Cavalleria Rusticana |
Cape Cod Opera |
| Mother |
Amahl and the Night Visitors |
New Milford PAC |
| Marcellina |
Le Nozze de Figaro |
Regina Opera, NYC |
| Principessa |
Suor Angelica |
NY Opera Productions |
| Harriet Tubman |
She Never Lost a Passenger |
Opera Memphis |
| Mother |
Le contes de Hoffman |
Opera Memphis |
| Betty |
Faith (Michael Ching) |
Vital Theater, Chicago |
| Betty |
Faith |
Vital Theater, NYC |
| Magdelone |
Maskarade (Neilsen) |
Bronx Opera |
| Lady Spirit |
A Christmas Carol |
New England Lyric Operetta |
| Baba |
The Medium |
Bronx Opera |
| Marah |
Riders to the Sea (Vaughn Williams) |
University of the Arts |
MUSICAL THEATRE & OPERA
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| Bloody Mary |
South Pacific |
Fresno Grand Opera |
| Mrs. Winthrop |
The Secret Garden |
Utah Festival Opera |
| Katisha |
The Mikado |
Regina Opera, NYC |
| Mother |
Hang On to the World |
University of the Arts |
CONCERT & ORATORIO PERFORMANCES
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| SOLOIST |
Elijah |
Bellevue, Washington |
| Mozart |
Requiem |
The Bronx Symphony |
| Elgar |
Sea Pictures Symphony |
New York Symphonic Arts Ensemble |
| Händel |
Messiah |
St. Paul's United Methodist - Brooklyn |
| Mendelssohn |
Elijah |
Jane United Methodist - Brooklyn |
| Mendelssohn |
Hymn of Praise |
Tompkins Congregational - Brooklyn |
REPERTOIRE
STAGE
| 1 |
performed |
| 2 |
completely prepared |
| 3 |
in preparation |
| Bernstein |
Candide |
The Old Lady |
2 |
| Britten |
Albert Herring |
Florence |
2 |
| Ching |
Faith |
Betty |
1 |
| Copland |
The Tender Land |
Ma Moss |
3 |
| Floyd |
Susannah |
Mrs. Ott |
3 |
| Gershwin |
Porgy and Bess |
Maria |
1 |
| Händel |
Giulio Cesare |
Cornelia |
1 |
| Humperdinck |
Hänsel und Gretel |
The Witch |
2 |
| Kander |
She Never Lost A Passenger |
Harriet |
1 |
| Mascagni |
Cavalleria Rusticana |
Mama Lucia |
1 |
| Menotti |
Amahl and the Night Visitors |
Mother |
1 |
| |
The Consul |
Mother |
2 |
| |
The Medium |
Madame Flora/Baba |
1 |
| |
The Old Maid and the Thief |
Miss Todd |
2 |
| Moore |
The Ballad of Baby Doe |
Augusta Tabor |
3 |
| Mozart |
Le Nozze de Figaro |
Marcellina |
1 |
| Mussorgsky |
Boris Godunov |
The Old Nurse |
2 |
| Nielsen |
Maskarade |
Magdelone |
1 |
| Ponchielli |
La Gioconda |
La Cieca |
3 |
| Poulenc |
Dialogues des Carmelites |
Prioress |
3 |
| Puccini |
Gianni Schicchi |
Zita |
2 |
| |
Suor Angelica |
La Principessa |
1 |
| Purcell |
Dido and Aeneas |
The Sorceress |
2 |
| Rogers |
South Pacific |
Bloody Mary |
1 |
| Rossini |
Il Barbiere di Siviglia |
Berta |
1 |
| Sondheim |
Into the Woods |
The Witch |
3 |
| Stravinsky |
The Rakes Progress |
Baba the Turk |
2 |
| |
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Mother Goose |
3 |
| Sullivan |
The Mikado |
Katisha |
1 |
| Tchaikovsky |
Eugene Onegin |
Filippyevna |
2 |
| Vaughn Williams |
Riders to the Sea |
Maurya |
1 |
| Verdi |
Un Ballo in Maschera |
Ulrica |
1 |
| |
Falstaff |
Mistress Quickly |
3 |
| |
Luisa Miller |
Federica |
3 |
| |
Rigoletto |
Giovanna |
1 |
| Wagner |
Das Rheingold |
Erda |
1 |
| Ward |
The Crucible |
Tituba |
1 |
| Weill |
The Rise and Fall of the City of Mahagonny |
Widow Begbick |
3 |
CONCERT & ORATORIO
| Beethoven |
Missa Solemnis |
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Symphony No. 9 |
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Choral Fantasy |
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Mass in C |
| Bernstein |
Jeremiah Symphony |
| Brahms |
Viola Songs |
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Alto Rhapsody |
| Bruckner |
Mass in f minor |
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Te Deum |
| Copland |
Old American Songs |
| Duruflé |
Requiem |
| Dvořák |
Requiem |
| Elgar |
Sea Pictures Symphony |
| Händel |
Messiah |
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Israel in Egypt |
| Mahler |
Lieder eines fahrenden Gesellen
(Songs of a Wayfarer) |
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Symphonies No.3 & 4 |
| Mendelssohn |
Elijah |
| |
Hymn of Praise |
| Mozart |
Requiem |
| Saint-Saens |
Christmas Oratorio |
| Verdi |
Requiem |
| Vaughan Williams |
Magnificat |
AWARDS & DISTINCTIONSSecond Prize Northeast District Leontyne Price Vocal Competition
TEACHERS & COACHESVOICE:
Leyna Gabriele, Enrico Di Giuseppe, Vivian Wagner
ACTING:
Leland Kimball, Walter Dallas
COACHES:
Nathan Mathews, Oksana Protenic, Eugene Rohrer, Richard Raub, David Holkeboer
DIRECTORS:
James Marvel, Mathew Lata, David McCarty, Scott Embler, Lucinda Winslow, Charles Kondek, Larry Marshal, Joseph Bascetta
CONDUCTORS:
Barbara Day Turner, Karen Keltner, Gerald Steichen, Thomas Conlon, James Caraher, Alex Guzman
EDUCATIONArtist in Residence - Opera Memphis
Certificate in Theater and Drama - Carnegie-Melon University
BM in Voice and Opera - University of the Arts
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