The young American soprano Amanda Hall has earned recognition for her performances of demanding roles on both the operatic and concert stages. In the 2016-17 season, Amanda Hall is soloist in Verdi’s Requiem with New Haven Symphony Orchestra as well as Canton Symphony Orchestra. Her engagements in the 2015-16 season included Messiah with the New Choral Society; singing Marschallin’s final scene from Der Rosenkavalier with Charleston Symphony Orchestra; Beethoven’s Missa Solemnis with Highland Park Presbyterian Church; and his Symphony No. 9 with Sioux City Symphony and Eugene Symphony. In the summer of 2015, she sang The Maid in Thomas Adès Powder Her Face with Boston’s Odyssey Opera, and Rosalinda in Die Fledermaus in a return to Opera Theater of Connecticut.
In the 2014-15 season Amanda Hall was soloist in Beethoven’s Missa Solemnis with the Jacksonville Symphony Orchestra, also New York’s New Choral Society; Mendelssohn’s Incidental Music from A Midsummer Night’s Dream with the Waterbury Symphony Orchestra; Cantaloube’s Chants d’ Auverne with the New Haven Symphony Orchestra; Bach’s Mass in B minor and Cantata No. 4 with the Grand Rapids Symphony; Mendelssohn’s Elijah with the South Dakota Symphony Orchestra; Vaughan Williams’ A Sea Symphony with the Modesto Symphony Orchestra; and Verdi’s Requiem with the Defiant Requiem Foundation.
Her 2013-14 season engagements included the title role in Lucia di Lammermoor in her debut with Anchorage Opera, Konstanze in Die Entführung aus dem Serail in her debut with Opera Grand Rapids, Countess in Le nozze di Figaro with Western Plains Opera, a return to the Hartford Symphony Orchestra as soloist in Mendelssohn’s Incidental Music from A Midsummer Night’s Dream, in Messiah with Asheville Symphony, and in Beethoven’s Symphony No. 9 with Minot Symphony Orchestra. Recent season highlights include her first performances of Lucia in Lucia di Lammermoor and Gilda in Rigoletto, both with Opera Theater of Connecticut, Blanche in Hawaii Opera Theatre’s production of Dialogues des Carmelites, Carmina Burana with the New Haven Symphony Orchestra, and performing and recording the role of Amelia in Simon Boccanegra (1857 version) at the Beethoven Festival in Warsaw. Past highlights include Violetta in La traviata with Western Plains Opera Company, joining the roster of New York City Opera for its production of A Quiet Place, Donna Anna in Don Giovanni as a guest artist with Yale Opera, soprano soloist in Verdi’s Requiem with Lynn University, and in Haydn’s The Creation with the Idaho State Civic Symphony.
She sang her first performances as Fiordiligi in Così fan tutte in her debut with Lyric Opera of Kansas City; debuted with Opera Naples as Donna Anna in Don Giovanni; with Hartford Symphony Orchestra as soloist in Carmina Burana; with Lubbock Symphony Orchestra as Violetta in a concert version of La traviata; with Eastern Connecticut Symphony Orchestra in Vaughan Williams’ A Sea Symphony; sang as soloist in Beethoven’s Symphony No.9 in New Haven (CT); as soloist in a Puccini concert with Sanibel Music Festival; in Verdi’s Requiem at the Cathedral of St. Joseph with the Hartford Symphony Orchestra; and returned to the roster of New York City Opera.
Other successes are the title role in Rusalka and the title role in Lucia di Lammermoor for an opera scenes performance with Yale Opera; Countess in Le nozze di Figaro and Micaëla in La Tragédie de Carmen, and performances of Queen of the Night, all with Yale Opera; singing as soloist in Verdi’s Requiem with Yale Symphony Orchestra; Dvo?ák’s Stabat Mater with Connecticut’s Cappella Cantorum; Beethoven’s Symphony No. 9 with the Waterbury Symphony Orchestra; Aaron Jay Kernis’ Symphony of Meditations with the Yale Camerata; and family performances of the title role of Susannah and the role of Belinda in Dido and Aeneas, both as an Apprentice Artist at Central City Opera. She appeared as Giulietta in I Capuleti e I Montecchi with the University of Southern California Opera and has performed several roles with La Sierra University Opera Theater including the title roles in both Thaïs and Cendrillon, Mabel in The Pirates of Penzance, Yum-Yum in The Mikado, and Aldonza in Man of La Mancha. As a member of the Jarvis Conservatory’s Zarzuela Workshop she appeared in a production of Luis Alonso.
Equally comfortable on the concert stage, Ms. Hall has performed both Mozart's Alleluia and Handel's Messiah with the Crystal Cathedral Chorus and Orchestra, Mozart's Requiem and Rutter's Requiem with the Loma Linda Chorus and Orchestra, Fauré's Requiem with the Tustin Presbyterian Church, Orff's Carmina Burana with Opera de Tijuana, and Bach's Christmas Oratorio with Riverside Little Opera.
Amanda Hall is a graduate of the Opera Program at the Yale School of Music and has earned a Master of Music degree from the University of Southern California and Bachelor of Arts in Music from La Sierra University. She has twice been a Regional Finalist in the Metropolitan Opera National Council Auditions and has been the recipient of Opera Buff's Performance Scholarship, AEIOU Opera Scholarship, Thornton Merit Scholarship, Leni Fe Bland Vocal Scholarship. She was also the winner of the La Sierra Sinfonia Concerto Competition and a finalist in the Palm Springs Opera Guild Competition.
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