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BIOGRAPHY
Monday, 9 May 2011 An Interview with Talise Trevigne
Our Micaëla, soprano Talise Trevigne, opens up about her role in San Diego Opera's production of Carmen. The Bay-area native talks about her career, what young singers should be doing to prepare themselves for the opera world, and her audition for Ian Campbell which was, um, a bit complicated by her pianist who happened to be...Education Director Nicolas Reveles! Listen in on a fun conversation with a delightful and engaging artist.
Podcast: An Interview with Talise Trevigne Direct download: Talise Trevigne Master.mp3
What does bacon have to do with San Diego Opera's Carmen? Talise Trevigne on being Micaëla.mp3 from .
Talise Trevigne is a singer recognized for the "sheer beauty of her voice" and "exquisite stage presence." As one critic stated, "No wonder Talise Trevigne is THE BUZZ of the opera world. She has it all: glorious voice, matchless acting ability, and beauty that takes your breath away!"
Called the "luminous new voice of opera," Ms. Trevigne continues to be praised for her portrayals of many leading ladies including Violetta, Mimì, Juliette, Gilda and Manon. Critics have deemed her Lucia as "perfect Bel Canto singing" and "utterly ravishing!" She garnered Britain's coveted Royal Philharmonic Society Music Award for her mesmerizing portrayal of Violetta in Graham Vick's La Traviata with Birmingham Opera and the City of Birmingham Symphony Orchestra. She opened the Emerging Stars Concert Series at Santa Barbara's historic Granada Theatre in a sublime recital with the great Warren Jones. In 2010 she reprised her meltingly beautiful Gilda with Tulsa Opera in her company début. She débuts with San Diego Opera singing her first Micaëla in May 2011. This summer she returns to Bel Canto at Caramoor to sing the role of Jemmy in Rossini's Guillaume Tell.
A champion of new music, she received rave reviews when she created the role of Pip the Cabin Boy in the world premiere of Jake Heggie's smash hit Moby-Dick with Dallas Opera in her company début. She reprises this poignant role, written for her by Mr. Heggie, with San Diego Opera in February 2012 and with San Francisco Opera in October 2012.
She made her Australian opera début as "The Beloved" in the world premiere of Liza Lim's The Navigator and reprised this demanding role at Moscow's Chekhov International Arts Festival (June 2009) and at Paris' Bastille (December 2009). She originated the title role in the world premiere of Judith Weir's Armida in the film which won glowing reviews internationally. She also starred in the world premiere of Errollyn Wallen's The Silent Twins with London's Almeida Opera.
Ms. Trevigne was unreservedly lauded as soloist in Richard Strauss' Vier letzte Lieder with Chicago's Ars Viva Symphony Orchestra and the Sacramento Philharmonic. She made a dazzling début with the Dallas Symphony in March 2010 as soloist in Orff's Carmina Burana.
Exceptionally versatile, she appeared as vocal soloist in the world premiere of Dance Theater of Harlem's St. Louis Woman - A Blues Ballet at the Lincoln Center Festival, LA's Dorothy Chandler Pavilion and The Kennedy Center. She was featured as guest soloist in New York's Schumann Festival, and as Euridice in Gluck's Orfeo ed Euridice with Bel Canto at Caramoor.
While still a student, Ms. Trevigne made her operatic début under the direction of Maestro Julius Rudel in La Traviata and Don Giovanni at the Aspen Music Festival. She has also performed principal roles in Purcell's Dido and Aeneas, Les Malheurs D'Orphée, Händel's Deidamia, Les Dialogues des Carmélites, The Tempest and Der Rosenkavalier.
Equally at home on the concert stage, her orchestral and recital performances have included Cantaloube's Chants D'Auvergne, Phedon in Satie's Socrate, Mahler's Second Symphony, Barber's Knoxville, Summer of 1915 and Prayers of Kierkegaard. She has also performed rare works by Maurice Delage, Purcell and Nin-Culmell in New York.
As generous as she is talented, Ms. Trevigne has unreservedly given of herself and her talents in support of numerous charities including The San Francisco AIDS Foundation, the Names Project, and New York's September 11 Memorial Project.
PRESS ACCLAIM
As Micaëla in Bizet's Carmen:
(Company Début) |
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"Trevigne as Micaëla offered lyrical relief. She sang with great beauty and charm."
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David Gregson - Opera West - May 15, 2011
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"Micaëla is touchingly sung by Talise Trevigne."
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MT Smorg - Yahoo! Contributor Network - May 14, 2011
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"Micaëla is a satisfying fit and a first for Talise Trevigne as she sings with lyrical grace and demure."
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Christie Grimstad - ConcertoNet - May 14, 2011
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"Soprano Talise Trevigne is terrific as Micaëla."
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Pam Kragen - North County Times - May 18, 2011
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"One of the production's most pleasing aspects is the company debut of soprano Talise Trevigne as Micaëla. Her Act III aria is THE highlight of the production. Trevigne's voice is thrillingly full with a secure top, and she is an excellent actor whose return next season as Pip, the Cabinboy, in Jake Heggie's Moby-Dick is eagerly anticipated."
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Charlene Baldridge - San Diego Theatre Critics Circle - May 16, 2011
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As Manon in Massenet's Manon:
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"Singing the title role of Manon was soprano Talise Trevigne. Trevigne seems to have an ideal voice for Manon, with a gorgeous timbre that can contain both a naïve, youthful sparkle as well as a mature lusciousness. While her voice possesses a noticeably clean flexibility and is lovingly capable of thrilling coloratura moments, her strength lies in telling a story with her voice."
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Alan Sherrod - MetroPulse - Feb 16, 2011
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"Talise Trevigne, who stars as the vain, pleasure-seeking Manon, is stunning in both looks and voice, and her performance of 'Adieu, petite table' is so moving it drew spontaneous 'bravos' from the crowd. Trevigne's performance as a 16-year-old whos family is sending her to a convent because she 'loves life a little too much' is very credible. You see and hear her character change, in voice as well as actions and demeanor, throughout her performance. She goes with ease from a mischievous young girl to a manipulative hedonistic woman, to the repentant dying Manon."
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Kim Midkiff - Knoxville News Sentinal - Feb 16, 2011
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As Guest Soloist in Bernstein's Songfest and The Kaddish Symphony:
(New York City Opera) |
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"The 'serious' Bernstein was represented by three selections from his 'Songfest' cycle, four excerpts from 'Mass' and one from his 'Kaddish' Symphony No. 3."
"In the polished first part of the concert the mood was reverential, the vocal performances impeccable."
"Christopher Feigum, Talise Trevigne, Joshua Jeremiah, Sara Jakubiak, Joshua Hopkins and Patricia Risley - the singers in the evening's first half - displayed beautiful voices and perfect intonation."
"George Manahan, they maintained a traditionally formal distance from the material, allowing the orchestra and the beauty of their voices to convey the gravity of texts."
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Stephen Holden - New York Times - Nov 7, 2010
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As Pip in Jake Heggie's Moby-Dick:
(World Premiere - The Dallas Opera - April 30, 2010) |
| "Talise Trevigne was superb in the trouser role as the cabin boy Pip. One of the most memorable scenes in the opera occurred when Trevigne, suspended above the stage, depicted Pip lost at sea by swimming and singing at the same time." |
James Bash - Oregon Music News - May 12, 2010
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| "As Pip, soprano Talise Trevigne commanded attention at every moment with her silvery, precise vocalism and magnetic stage presence." |
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| "Talise Trevigne's Pip delivered a showpiece aria while suspended well above the stage, as if treading water, and sang it beautifully." |
Opera Magazine (London) - July, 2010
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"The requisite pants-role cabin boy, Pip, provided the welcome leavening of a female voice and the luminous soprano Talise Trevigne, who actually brought conviction to her tambourine-wielding, merry character and his subsequent insanity.
Trevigne managed the feat of singing gorgeously in a scene when Pip, lost at sea, sings suspended some 20 feet in the air, struggling to keep his head above water, out of sight of land, surrounded by evocative projections of the roiling ocean: one of the scenes the audience greeted, at its end, with spontaneous applause." |
Anne Midgette - - May 3, 2010
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"Triumphant world premiere of 'Moby-Dick' captures the elemental forces of the sea and Ahab's obsession.
Everyone exhale now. Moby-Dick, the opera, is a triumph.
Singing the trousers role of the young Pip, Talise Trevigne supplies the opera's one female voice, a radiant soprano." |
Scott Cantrell - The Dallas Morning News - May 1, 2010
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"For a scene in which the cabin boy Pip, played by Talise Trevigne, a soprano, is lost at sea, Ms. Trevigne hung suspended above the stage, futilely paddling against a daunting expanse of projected waves.
Ms. Trevigne was riveting as Pip: first boyish and jolly, later haunting in madness." |
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"Jake Heggie has a Whale of a Hit With Moby-Dick"
"The only woman in the cast, soprano Talise Trevigne in the trousers role of Pip, injects brightness and energy." |
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| "Like Verdi's Otello (another tale of the sea), Moby-Dick depicts a decidedly masculine world. In the case of Moby, though, there is no real love interest, as the work takes place entirely on ship board. Consequently, the only female voice to be heard is in the 'trouser' role of Pip, the cabin boy, which places a heavy burden on the singer of the role. Soprano Talise Trevigne meets it square on with a beautiful, yet powerful voice that never falters." |
Dean Cassella - Fort Worth Rennaissance - May 3, 2010
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"Moby-Dick, An Extraordinary Musical Experience, May Point Opera in a New Direction"
"The cast, otherwise all male, includes one pants role, the cabin boy Pip, sung and acted with hypnotic power by soprano Talise Trevigne." |
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| "The vibrant soprano Talise Trevigne is a joy to hear as the cabin boy Pip." |
George Loomis - Classical Review - May 2, 2010
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| "Soprano Talise Trevigne is excellent as the cabin boy, Pip, and her creamy soprano offers welcome relief from all the male voices." |
Gregory Sullivan Isaacs - Theater Jones - May 1, 2010
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As Soloist in Orff's Carmina Burana:
(Dallas Symphony Orchestra Début - Yan Pascal Tortelier, Conductor) |
The Odd Couple
Mozart and Orff make a strange pair for the Dallas Symphony
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photo: Kingmond Young
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"The real treasure of the evening was soprano Talise Trevigne. Hers is a creamy and luscious voice with a surefire technique, solid top notes and a completely even instrument from top to bottom.
She will create the role of Pip, the cabin boy, in the Dallas Opera's upcoming premiere of Jake Heggie's Moby-Dick.
After that, she will make her San Diego Opera début as Micaëla in Bizet's Carmen, a perfect role for her at this stage of her career. It would be well worth the trip out there to hear it for the first time. Soon enough, she will be singing it at all major opera houses of the world." |
Gregory Sullivan Isaacs - Theater Jones - March 26, 2010
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As "Gilda" in Rigoletto:
(Tulsa Opera début) |
| "Trevigne was the stand-out performer in this show. As Gilda, she is captivating, providing an easy, mesmerizing chemistry with both the Duke and Rigoletto." |
Holly Wall - Urban Tulsa Weekly - March 3, 2010
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'Rigoletto' wrenches at emotions while projecting them, too
"Trevigne's' Gilda is a more complex character than is usually portrayed; although naive, she is definitely not a child, nor is she all that comfortable with a father it is obvious she barely knows. Her voice in the middle and lower registers has a lovely, dark tone that emphasizes the maturity of this Gilda, but when she soared in the aria 'Caro nome,' the newly-in-love young girl within was suddenly, palpably evident."
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James D. Watt, Jr. - World Scene Writer - March 1, 2010
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As "Mimì" in La Bohème:
(Opera Omaha) |
| "Soprano Talise Trevigne (Mimì) delivered the standout performance of the evening. She sang with a voice of bell-like purity and with a technique - breath support, vibrato, etc. - that was so natural that it was almost unnoticeable. Her singing during the Act 4 death scene was especially memorable, with her notes floating weightlessly and transparently, like a departing spirit." |
John Pitcher - Omaha World-Herald - Apr 16, 2009
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| In Concert: |
| "Rising star of opera, soprano Talise Trevigne, has a major league voice and a star quality to match." |
San Francisco Classical Voice
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Ms. Trevigne in rehearsal - Desdemona - March 2009
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As "Gilda" in Rigoletto:
(Knoxville Opera) |
"Gilda shines in Knoxville Opera's Rigoletto"
"Talise Trevigne, singing the role of the sheltered, inexperienced Gilda, could not have been better. The clear beauty of her voice perfectly captured Gilda's untarnished innocence and vulnerability. Her Gilda lit up the stage." |
Knoxville Sentinal - Feb 14, 2009
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"...as Gilda, brought a rich and luscious presence to Knoxville Opera Company's Rigoletto."
"In what appears to be a real find for Knoxville Opera, Rigoletto's daughter, Gilda, was sung by soprano Talise Trevigne. Her voice was luscious and lyrically smooth, yet with a surprising power and range. The hints of a beautiful coloratura showed themselves in a lovely 'Caro nome' in which Gilda sings of her love for the Duke, whom she has been deceived into thinking is a poor student."
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MetroPulse - Feb 18, 2009
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| "Talise Trevigne, singing the role of the sheltered, inexperienced Gilda, could not have been better. The clear beauty of her voice perfectly captured Gilda's untarnished innocence and vulnerability. Her Gilda lit up the stage." |
Harold Dockett - Knoxville Sentinel - Feb 15, 2009
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| (with The Anna Livia Dublin International Opera Festival - role and company débuts) |
| "... a superb Gilda from the American Talise Trevigne ..." |
Ian Fox - Opera - Dec 2008
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| " Most of the hype of this production centred around the choice of Talise Trevigne, one of America's brightest young stars, to play the role of the tragic Gilda. Trevigne's ascent in the operatic firmament has been startling even by American standards, but not unwarrented as soon became evident. Trevigne's soprano voice has an unreal perfection, being pure, silky, rich and under control, even when singing 'Caro nome' on the flat of her back. A great voice alone is not enough to produce a great Gilda, but Trevigne's acting ability and intelligent reading of the role produced an understated yet powerful performance. " |
Sunday Business Post, Dublin - Sep 14, 2008
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| "The Anna Livia Dublin International Opera Company's new production is fortunate in its Gilda, a touchingly fresh-toned Talise Trevigne who always has the necessary high notes within easy and secure reach." |
Michael Dervan - Irish Times - Sep 13, 2008
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As "The Beloved" in Liza Lim's The Navigator:
(World Premiere) |
| "The Beloved, soprano Talise Trevigne, nightclub svelte in a simple purple silk shift sings like a siren. She is the essence of longing and loss." |
Douglas Leonard - Realtime - Oct 2008
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| "Talise Trevigne as The Beloved has a fluid, gorgeous voice." |
Gillian Wills - The Australian - Aug 1, 2008
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| Ms. Trevigne as Lucia: |
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Lucia di Lammermoor: Mayhem, Madness and Superb Singing
"There are no easy roles here, the most important being that of Lucia di Lammermoor, who must be a soprano capable of executing the most difficult coloratura passages in a voice of impressive range and power. If the singer is young, attractive and a superb actress as well, her success and that of the opera is assured. Certainly Talise Trevigne, here performing the role of Lucia, has all these qualities in abundance. Her great skill and her beauty transfixed her audience, and I, no less than anyone else present, was entranced by a voice that we will be hearing for many years to come .
Every scene in which Trevigne appeared was memorable, beginning with her first encounter with Edgardo, in which she begs him to keep their love secret and then joins with him in declaring their love before God, to her descent into madness after stabbing her bridegroom Arturo. This last scene is the epitome of Trevigne's skill as singer and actress, as Lucia wanders about the stage in a blood-spattered gown, delirious, thinking that she has married Edgardo rather than Arturo, responding distractedly to the brief calls of the flute, singing melodies recalled from happier days, and finally collapsing with a final high note expressive of the anguish which has driven her to this state. I doubt that even Joan Sutherland in her best days could have done any better."
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Martha A. Fawbush - Classical Voice of North Carolina - Jan 19, 2008
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| "Any successful production of "Lucia" rests firmly on the shoulders of the leading lady. Talise Trevigne's warm, clear voice expresses a generous range of emotions and colors. She uses vocal ornaments sparingly but effectively, keeping her interpretation focused on the drama rather than on pyrotechnic display. She caps arias and duets with thrilling high notes (most notably in the famous "Sextet") and makes her mad scene a showpiece of manic mood changes." |
Roy C. Dicks - The News & Observer - Jan 18, 2008
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| "Talise Trevigne is acclaimed for the magnificent beauty of her voice, and for how she captivates audiences with her stunning presence. She's definitely a star to watch, we're thrilled that she's coming to town." |
Deana Vassar, host of WPCE Radio's Preview! program (Raleigh, NC)
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| As Soloist in Strauss' Vier letze Lieder: |
| The exquisitely poised guest artist, soprano Talise Trevigne, controlled the varied timbre of her voice with laserlike precision. Brava!" |
Gregg Wager - Sacramento News & Review - Apr 17, 2008
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"Soprano, Ars Viva pair well"
"Trevigne a treat as soloist in Strauss' 'Last Songs'"
"Soprano Talise Trevigne, the soloist in the Strauss songs, was the evening's prime discovery."
"Trevigne commands a lyric-coloratura soprano of striking freshness and beauty. She has the radiant high notes and creamy timbre one expects from a Strauss soprano and the ability to float long, arching phrases over a lush orchestra."
"Her singing was gorgeous and musically sensitive. I look forward to hearing her again."
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John von Rhein - Chicago Tribune - Nov 20, 2007
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As Violetta in Verdi's La Traviata
(UK - Birmingham Opera & CBSO - Oct 25 and 26, 2007): |
| "Talise Trevigne's Violetta sounded like the real thing. The American soprano looked sexy, acted intelligently and had all the notes. Another plus: she had anima (soul), enough to raise the goose-bumps in the letter scene - no mean feat in English ." |
Andrew Clark - OPERA Magazine (UK) - January, 2008
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| "That I had any tears in my eyes in Act III was down to Trevigne's dignity. Her singing was thoughtful and her stillness more shocking than any amount of crudeness." |
Anna Picard - The Independent - 4 Nov 2007
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| "Talise Trevigne... this Violetta was young, optimistic, wise, tired, and, in the last act, as dead as a mummy. Her death, sloughing off life and exiting like a soul, was like some Inuit transfiguration. The voice is to die for." |
The Independent (UK) - Oct 29, 2007
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"Catch the Buzz"
" ... the vocal triumph of the evening lay with Talise Trevigne as Violetta, the 'gone-astray' courtesan herself. Both vocally and dramatically hers was a performance of genuine dignity and allure."
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Birmingham (UK) Post - Oct 26, 2007
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| "Trevigne worked hard all night - her honeyed soprano making light work of the Act I fireworks and sweetly expiring in the finale." |
The Times - Oct 29, 2007
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| "A touching Violetta." |
The Guardian (UK) - Oct 27, 2007
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| "Talise Trevigne who played the part of Violetta, was exceptional. She is the most amazing singer I have heard in decades. Her voice and performance carried such emotion you could actually feel what she was saying - particularly during the third act." |
Performance Reviews Online (UK) - Oct 26, 2007
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| "Fresh, pure, alert singing." |
The Telegraph - Oct 29, 2007
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photo: Kingmond Young
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Lighting a Fire Under Lucia
You don't have to be a critical genius to figure out that Talise Trevigne, the star of San Francisco Lyric Opera's new production of Lucia di Lammermoor, has a major-league voice and star quality to match. She lit a fire under Saturday's satisfying, if basic, performance.
Trevigne, in her first impersonation of Donizetti's formidable title role, proved that she has all the required vocal resources and musicianship. Penetrating, round tone at both registral poles is just the beginning. She threw out clear, unaspirated passagework; was always precisely on the beat, showing a great sense of rhythm; and phrased and softened attacks like the seasoned pro she is on her way to becoming.
As an actor, too, she proved equal to the task. She allowed no operatic or stagey mannerisms in her performance and from the outset conveyed Lucia's emotional fragility.
When Trevigne took over - as she must - for the mad scene, her performance reached an extraordinarily high level.
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Michael Zwiebach - San Francisco Classical Voice - May 26, 2007
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Trevigne: Ecco la Lucia!
Some sopranos singing the title role of "Lucia di Lammermoor" work their way up to the great climactic Mad Scene (and some die there...or before), but not Talise Trevigne. This young, beautiful soprano from Milpitas sang a Lucia on fire from the first note to the last tonight , a world-class performance.
From a full-voiced "Regnava nel silenzio" to "Quando rapito in estasi," a rapturous love duet (sung pretty much as a solo), a glorious Sextet in which Trevigne took everybody with her to a higher level, to the Mad Scene - rightly interrupted by applause before the "Spargi d'amaro pianto" conclusion - the soprano did everything right, and yet never sounded "singerly. "
Hers is a big voice, but not outsized, a voice with warmth and agility, the projection is flawless, and above all, Trevigne sings without effort, sounding natural, musical, and conveying a sense of joy in her art. She sings dramatic soprano and coloratura, and everything in-between, but the listener is aware of the music only, not the technique, the fach, the voice production ."
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Janos Gereben - San Francisco Chronicle, The Examiner - May 28, 2007
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Led by a vital Violetta
NEW SOPRANO SETS HIGH TONE FOR OPERA SAN JOSE'S 'TRAVIATA'
The biggest news coming out of Opera San Jose this season is the outstanding soprano, Talise Trevigne.
Has the company ever sounded this good? Have its productions ever shone with this much sophistication? Not in my memory -- and I keep hearing the same from South Bay opera buffs who've been around a lot longer than I.
Another element stood out Saturday: the audience. It buzzed with excitement (and you know and I know that that's not typical in San Jose). It also included lots of twenty- and thirty-something listeners. The buzz, clearly, is about Trevigne, who has star power: good looks, graceful movements, potent acting ability and a voice that should spring her toward a big career.
Her voice is limber and acrobatic; butter-rich, yet airy. She sings with terrific control -- and emotional abandon. She goes for it Her Violetta was flirtatious, furious, feverishly in love and fainting, literally, from the tuberculosis which brings her down. This was a superb performance, and it brought down the house.
To hear Trevigne sing "Ah fors'é lui" -- about "mysterious and unattainable love" -- was a powerful experience. She can skewer a high note at a whisper and then hold it right there. Her love duets in the first and last acts with Alfredo, were at once delicate and tormented.
With Trevigne's advance toward death: her desperation, resignation and last gasps, the truth of her situation, registered on her face, in her eyes, in her voice. The cast galvanized around her. The curtain fell, the crowd roared.
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Richard Scheinin - San José Mercury News - Feb 13, 2007
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| "As Violetta, beautiful, slender soprano Talise Trevigne actually looked her character's age. The voice is quite attractive, especially strong on top, with accurate and brilliant coloratura and a genuine E-flat. She sang especially movingly in 'Addio del passato' and in her final utterances." |
Opera News - Mar 2007
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| As Rosina in Rossini's Il Barbiere di Siviglia: |
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Everything was improved from opening night. This time around, it was flat-out better: the timing, the chemistry, the interplay between singers and orchestra, and the singing itself.
So where, specifically, was the difference this time around? First of all, the cast I saw Sunday featured the superb soprano Talise Trevigne in the role of Rosina, the coquette around whom the comic action whirls. Trevigne is a coloratura soprano -- light and agile and eating up the most ornately scalloped or hop-scotching flourishes in the score, which take her soaring.
But her voice also has weight and warm layers of pearly luster. And as comfortable as she is flying upward, she also can glide downward, so much so that she was able to sing Rossini's original scoring for a lower-voiced mezzo-soprano. Of course, this is all pretty technical. What's important is that Trevigne sang with such affection for the music. Performing Rosina's famous cavatina at the start of the first act's second scene, she opened up the full line and beauty of the melody; it was a showstopper.
She also was inside the role; when she described herself as a "viper" when "crossed in love," you believed it. Trevigne was viper and coquette -- and a woman truly in love with the amorous young Count Almaviva, who is aided by Figaro (Seville's conniving barber and all-around hustler) in a nutty plot to steal Rosina from the clutches of her rich and boring dolt of a benefactor, Doctor Bartolo.
Whenever she got near Almaviva, Trevigne's flirty, pie-eyed infatuation lit up the stage. She has presence."
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Richard Scheinin - Mercury News - Nov 28, 2006
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As Juliette in Gounod's Roméo et Juliette
(Opera San José): |
| "Acting with realism, singing with crystal clear tone and using a technique that allows her to climb and descend the coloraturas with great ease, the soprano Talise Trevigne gave the audience a convincing Juliette. From the moment she sang 'Tout un monde enchanté semble naitre a mes yeux!' Trevigne was wildly cheered. She received numerous ovations during the night." |
Cultural Review by Iride Aparicio for La Oferta
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"It didn't take long for soprano Talise Trevigne to bring down the house Sunday during her debut with Opera San Jose at the California Theatre. In the first act of Gounod's 'Roméo et Juliette,' Trevigne, as the famous Juliette (the one you know from Shakespeare), hit the stage with electric velocity and moved toward her first aria, known as Juliette's Waltz.
The shock of her voice! It is pearly lustrous and deep -- and Trevigne flung it through acrobatic ascents and descents, with a looping, I-love-life giddiness that fit Juliette to a T. It was charming, a little coquettish, supremely confident and -- I'm happy to lay on the adjectives here -- thrilling, making for one of those moments when you again realize just how beautiful the human voice can be.
The audience, filled with Sunday matinee opera buffs, exploded with cheers for her. If Trevigne sticks around town for a while, we are going to be treated to some super-good performances. Is this really happening in San Jose? It is!
The company has a pair of rotating casts, through Sept. 24. Hurtado and Trevigne courted the audience with greater success than Bard and Bengochea in the opera's first half - oh those love duets!"
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Richard Scheinin - Mercury News - Sep 12, 2006
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| "The stunning Talise Trevigne asserted herself in 'Je veux vivre,' and quickly won over the audience. In the last act, her 'potion aria,' 'Amour, ranime mon courage,' proved to be the dramatic high point of the entire performance, a tour de force of anxiety, faith, fear, and resolve. Fortunately, the production preserved the entire scene." |
SFCV.org - Sep 10, 2006
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As Pamina in Mozart's Die Zauberflöte
(début): |
| "Soprano Talise Trevigne is brilliant as Pamina. Beautiful, demure and gloriously voiced, she sings with grace and intelligence and acts with great sureness. From San Francisco, she is new to Des Moines audiences. Hopefully she will become a regular here, for she is destined to create a loyal following." |
Robert C. Fuller - Special to The Register - June 26, 2006
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| "The Pamina was Talise Trevigne, meticulously vocalized, with lovely dynamic shading in the quartet." |
Mark Thomas Ketterson - Opera News - October 2006
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As Vocal Soloist in Dance Theatre of Harlem's St. Louis Woman: A Blues Ballet
(The Lincoln Center Festival): |
| "...this is gorgeous entertainment ...There are singers, and VERY good ones, including the spectacular Talise Trevigne." |
Kisselgoff - NY Times
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As Euridice in Gluck's Orfeo ed Euridice
(Bel Canto at Caramoor): |
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"Euridice, played by soprano Talise Trevigne, stepped onstage wearing attire identical to the chorus - white peplos tunic, blue sash. Despite this unfortunate costuming understatement, she managed to stand out quickly. Just when all the pathos was beginning to seem tacked, or nailed on, Trevigne authenticated the emotions once again."
"Her finely nuanced vocal performance ranged from a dramatic stage whisper to a powerful embodiment of anguish. Her tone was consistently round and solid, her vibrato lustrous!"
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John Aiello - The Journal News - Nov 14, 2002
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CURRENT & UPCOMING ENGAGEMENTS
| Jemmy |
Guillaume Tell |
Bel Canto at Caramoor |
Jul 9 & 15, 2011, 7:30pm |
| Pip |
Jake Heggie's Moby Dick |
San Diego Opera |
Feb 18, 21, 24 & 26m, 2012 |
| SOLOIST |
Mahler Symphony No. 4 |
San Jose Chamber Orchestra |
Mar 4, 2012 |
| SOLOIST |
Aaron Jay Kernis' Valentines |
American Music Festival Albany Symphony |
May 19, 2012 |
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San Francisco Opera (début) |
Oct 2012 |
AUDIO AND VIDEO SAMPLES
(Turina - Tres poemas, Op. 81)
"Au Bord de l' Eau" - G. Fauré - Warren Jones, pianist - 9.12.09 - live/unedited
"Einerlei" - R. Strauss - Warren Jones, pianist - 9.12.09 - live/unedited
"Scena di Berenice" - Haydn - Warren Jones, pianist - 9.12.09 - live/unedited
Tres Poemas, Op. 81 - J. Turina - "Olas gigantes" "Tu pupila es azul" "Besa el aura"
Warren Jones, pianist - 9.12.09 - live/unedited
"I'm Nobody" - L. Laitman - Warren Jones, pianist - 9.12.09 - live/unedited
OPERA EXPERIENCE - SELECTED
| Micaëla (role début) |
Carmen |
San Diego Opera
(company début) |
2011 |
| Manon (role début) |
Manon |
Knoxville Opera |
2010 |
| Pip |
Jake Heggie's Moby Dick
(world premiere) |
Dallas Opera (company début) |
2010 |
| Gilda |
Rigoletto |
Tulsa Opera (company début) |
2010 |
| The Beloved |
Liza Lim's The Navigator |
L'Opéra Bastille (Paris) |
2009 |
| The Beloved |
Liza Lim's The Navigator |
The Chekhov International Arts Festival, Moscow |
2009 |
| Mimì (role début) |
La Bohème |
Opera Omaha (company début) |
2009 |
| Desdemona |
Otello |
Oakland Symphony Orchestra |
2009 |
| Gilda |
Rigoletto |
Knoxville Opera (company début) |
2009 |
| The Beloved |
Liza Lim's The Navigator |
Melbourne International Festival of the Arts |
2008 |
Gilda
(role début) |
Rigoletto (company début) |
Anna Livia Dublin International Opera Festival |
2008 |
| The Beloved |
Liza Lim's The Navigator
(world premiere) |
Brisbane Festival, Australia |
2008 |
| Lucia |
Lucia |
Opera Company of North Carolina, Raleigh, NC |
2008 |
| Lucia |
Lucia |
Asheville Lyric Opera, Asheville, NC |
2008 |
| Violetta |
La Traviata (company début) |
Birmingham Opera (UK) |
2007 |
| June Gibbons |
The Silent Twins
(World Premiere) |
Almeida Opera, London |
2007 |
| Lucia |
Lucia di Lammermoor |
San Francisco Lyric Opera |
2007 |
| Violetta |
La Traviata |
Opera San José (guest artist) |
2007 |
| Rosina |
Il Barbiere di Siviglia |
Opera San José (guest artist) |
2006 |
| Juliette |
Roméo et Juliette |
Opera San José (guest artist) |
2006 |
| Pamina |
Die Zauberflöte |
Des Moines Metro Opera |
2006 |
| Armida |
Armida (Judith Weir) |
Feature Film & BBC Broadcast (world premiere) |
2003-2005 |
| Euridice |
Orfeo et Euridice |
Caramoor International Festival |
2002 |
| Nerea |
Deidamia |
Caramoor International Festival |
2002 |
| Norina |
Don Pasquale |
Caramoor International Festival |
2002 |
| Eurydice |
Les Malheurs D'Orphee |
Henry Street Chamber Opera |
2002 |
| Second Woman |
Dido and Aeneas |
Henry Street Chamber Opera |
2002 |
| Nanetta |
Falstaff (scenes) |
Caramoor International Festival |
2001 |
| Zerlina |
Don Giovanni |
Aspen Opera Theater |
1998 |
| Sophie |
Der Rosenkavalier (Act III trio) |
Aspen Opera Theater |
1998 |
| Violetta (cover) |
La Traviata |
Aspen Opera Theater |
1997 |
REPERTOIRE
OPERATIC
| 1 |
performed |
| 2 |
completely prepared |
| 3 |
in preparation or arias only |
| Beethoven |
Fidelio |
Marzelline |
3 |
| Bellini |
I Puritani |
Elvira |
2 |
| |
La Sonnambula |
Amina |
2 |
| Berg |
Lulu |
Lulu |
3 |
| Bizet |
Carmen (role début 5/11) |
Micaëla |
2 |
| |
Les Pêcheurs de Perles |
Léïla |
2 |
| Donizetti |
Lucia di Lammermoor |
Lucia |
1 |
| Dvořák |
Rusalka |
Rusalka |
3 |
| Gluck |
Orfe ed Euridice (French & Italian versions) |
Euridice |
1 |
| Gounod |
Faust |
Marguerite |
3 |
| |
Roméo et Juliette |
Juliette |
1 |
| Grétry |
Zémire et Azor |
Zémire |
1 |
| Händel |
Alcina |
Alcina |
2 |
| |
Agrippina |
Agrippina |
3 |
| |
Ariodante |
Ginevra |
3 |
| |
Giulio Cesare |
Cleopatra |
3 |
| |
Rinaldo |
Armida |
3 |
| |
Rodelinda |
Rodelinda |
3 |
| |
Scipione |
Berenice |
3 |
| |
Semele |
Semele |
3 |
| |
Serse |
Romilda |
3 |
| |
Tamerlano |
Asteria |
3 |
| |
Tolomeo, Re d'Egitto |
Seleuce |
3 |
| Heggie, Jake |
Moby Dick (world premiere 5/10) |
Pip |
1 |
| Leoncavallo |
I Pagliacci |
Nedda |
2 |
| Lim, Liza |
The Navigator (world premiere 7/08) |
The Beloved |
1 |
| Massenet |
Manon (role début 2/11) |
Manon |
2 |
| |
Thaïs |
Thaïs |
3 |
| Milhaud |
Les Malheurs d'Orphée |
Eurydice |
1 |
| Monteverdi |
L'Incoronazione di Poppea |
Poppea |
3 |
| Mozart |
Don Giovanni |
Zerlina |
1 |
| |
|
Donna Anna |
3 |
| |
Le Nozze di Figaro |
Susanna |
2 |
| |
Die Zauberflöte |
Pamina |
1 |
| Poulenc |
Dialogues des Carmélites |
Blanche |
3 |
| Puccini |
La Bohème |
Mimì |
1 |
| |
Madama Butterfly |
Cio-Cio San |
3 |
| |
La Rondine |
Magda |
2 |
| |
Turnadot |
Liù |
3 |
| Rossini |
Guillaume Tell (role début 7/11) |
Jemmy |
2 |
| Strauss, R. |
Capriccio |
The Countess |
3 |
| |
Daphne |
Daphne |
3 |
| Tchaikovsky |
Yevgény Onégin |
Tatiana |
3 |
| Verdi |
Rigoletto |
Gilda |
1 |
| |
La Traviata |
Violetta |
1 |
| Wallen, Errollyn |
The Silent Twins (world premiere) |
June Gibbons |
1 |
| Weir, Judith |
Armida (world premiere film) |
Armida |
1 |
CONCERT & ORATORIO
| Barber |
Knoxville, Summer of 1915 |
| |
Prayers of Kierkegaard |
| Beethoven |
Choral Fantasy |
| |
Mass in C |
| |
Symphony No.9 |
| Berg |
Der Vein |
| |
Lulu Suite |
| Berlioz |
Les Nuits d'Été |
| Brahms |
Ein deutsches Requiem |
| |
Liebeslieder Waltzes |
| Britten |
Ceremony of Carols |
| |
Les Illuminations |
| Bruckner |
Te Deum |
| Canteloube |
Chants D'Auvergne |
| Copland |
12 Poems of Emily Dickinson |
| Delage |
Quatre Poèmes Hindous |
| Fauré |
Requiem |
| Händel |
selected secular oratorios |
| Haydn |
The Creation |
| Heggie |
orchestrated songs |
| Mahler |
Symphonies No. 2 & 4 |
| Mendelssohn |
Elijah |
| |
Hymn of Praise |
| |
Hear my prayer |
| |
Infelice |
| Orff |
Carmina Burana |
| Poulenc |
Gloria |
| |
La voix humaine(staged or in concert) |
| Puccini |
Missa da Requiem |
| Ravel |
Shéhérazade |
| Respighi |
Lauda per la Natività del Signor |
| Schönberg |
6 Lieder, op.8 |
| Strauss, R. |
Brentano Lieder |
| |
Vier letzte Lieder |
| |
Orchestrated Songs:
Zueignung, Op. 10/1
Ruhe, meine Seele, Op. 27/1
Cäcilie, Op. 27/2
Morgen, Op. 27/4
Das Rosenband, Op. 36/1
Ich liebe dich, Op. 37/2
Meinem Kinde, Op. 37/3 |
| Vaughan-Williams |
Dona Nobis Pacem |
| |
Hodie |
| |
Mass in g minor |
| Verdi |
Missa da Requiem |
| Villa-Lobos |
Bachianas Brasileiras No. 5 |
AWARDS & DISTINCTIONSWINNER Gerda Lissner Foundation Award 2009
WINNER Royal Philharmonic Society Award 2008
La Traviata (Birmingham Opera Company (England)
EDUCATIONManhattan School of Music, BM
Manhattan School of Music, MM
PROFESSIONAL TRAININGBel Canto Institute
Aspen Music Festival
SOLO ORCHESTRAL ENGAGEMENTS, RECITALS & GALAS
| SOLOIST |
Verdi Requiem Virginia Consort |
2011 |
| Guest Artist |
Lucky to Be Me - The Music of Leonard Bernstein New York City Opera |
2010 |
Special Guest Artist
with Jake Heggie |
San Francisco Performances Gala, Mark Hopkins Hotel |
2010 |
| SOLOIST |
Carmina Burana Dallas Symphony Orchestra, Yan Pascal Tortelier, Conductor (DSO début) |
2010 |
| GUEST ARTIST |
New York City Opera Reopening Gala
The David H. Koch Theater |
2009 |
| RECITAL |
with Warren Jones
Inaugural Concert - Emerging Artists Series at The Granada (www.granadasb.org),
Santa Barbara, CA |
2009 |
| SOLOIST |
Award Winners' Concert Gerda Lissner Foundation
Weill Hall at Carnegie (NYC) |
2009 |
| RECITAL |
with Roger Vignoles
Queensgate Terrace Recital Series, London |
2008 |
| SOLOIST |
R. Strauss Vier letzte Lieder Sacramento Philharmonic |
2008 |
| GUEST ARTIST |
Gala Fantasy Concert - Opera Roanoke |
2008 |
| SOLOIST |
R. Strauss Vier letzte Lieder Ars Viva Symphony Orchestra |
2007 |
| SOLOIST |
Fauré Requiem & Bruckner Te Deum |
2007 |
| SOLO RECITAL |
Chicago |
2007 |
| St. Louis Woman |
Lincoln Center Festival |
2003 |
| Carmina Burana |
Peninsula Orchestra |
2002 |
| Chants D'Auvergne |
Trinity Church, Manhattan Chamber |
2001 |
| SOLOIST |
Händel Messiah |
2001 |
| Socrate (Phedon) |
Trinity Church, Manhattan Chamber |
2001 |
| SOLOIST |
Fauré Requiem |
2000 |
| SOLOIST |
Händel Messiah |
2000 |
| Names Project, Benefit Concert |
Merkin Hall |
1999 |
| SOLOIST |
The San Francisco Aids Foundation |
|
| SOLOIST |
September 11 Memorial Concert
Trinity Church and the WTC Authority |
|
| Gala with Marilyn Horne, Ruth Ann Swenson, James Morris/Warren Jones, New York City |
1998 |
| Knoxville, Summer of 1915 |
Peninsula Orchestra |
1997 |
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