Soprano Audrey Luna, who Opera News says “has power and a blazing coloratura facility that most lyric sopranos can only dream of,” continues to be one of the opera world’s most exciting artists. In her triumphant performance of Ariel in The Tempest at the Metropolitan Opera, the New York Times said: “Mr. Adès’s Ariel is a dazzling creation, and Ms. Luna conquers the role.” Her performance as Ariel in this production of The Tempest is available on DVD on Deutsche Grammophon; the DVD was awarded a French Diapason d’Or, and won a 2014 Grammy Award, “Best Opera Recording.”
In the summer of 2016, Ms. Luna makes her Salzburg Festival debut as Leticia in the world premiere of Thomas Adès’s opera Exterminating Angel, and she reprises the role of Leticia for her Royal Opera House, Covent Garden debut in the 2016-17 season. Her other engagements in the 2016-17 season include her debuts with Berliner Philharmoniker and London Symphony Orchestra as Venus and Gepopo in Ligeti’s Le grand macabre conducted by Sir Simon Rattle and directed by Peter Sellars; her first collaboration with Péter Eötvös in the composers latest commission, Sirens, with the Calder Quartet at Tonhalle Zürich, IRCAM Paris, and at Donaueschingen Festival; and her debut with Seattle Symphony in Ligeti’s Requiem.
In the 2015-16 season, Audrey Luna reprised Ariel in The Tempest in a return to Wiener Staatsoper, debuted with Teatro la Fenice Venezia as Queen of the Night in Die Zauberflöte, and was soloist in Carmina Burana with Colorado Symphony Orchestra. Her engagements in the 2014-15 season included performances as Olympia in a return to Metropolitan Opera, also with Den Norske Opera; and Ariel in her Wiener Staatsoper debut. Season 2013-14 engagements included her returns to Metropolitan Opera as Fiakermilli in Strauss’ Arabella and to Pittsburgh Opera as Queen of the Night in Die Zauberflöte, and debuts with Opéra de Montréal as the title role in Lakmé, San Francisco Symphony as Ariel in scenes from The Tempest, with Virginia Opera as Zerbinetta in Ariadne auf Naxos, and as soloist with Williamsburg Symphonia in an Opera Gala Concert. She also sang Madame Mao in Adams’ Nixon in China with Dublin’s Wide Open Opera and was soloist in Carmina Burana with Minnesota Orchestra. In summer of 2014 she sang with Santa Fe Performance (concert series).
Recent highlights include her return to the Metropolitan Opera to sing Ariel in The Tempest; Zerbinetta in her debut with Fort Worth Opera; the Queen of the Night with Utah Opera; La Santa Muerte in Sosa’s Regina with American Lyric Theater; a return to the National Philharmonic as soloist in Carmina Burana; joining the roster of Lyric Opera of Chicago for Ariadne auf Naxos, and her debut with that company as the Queen of the Night; Ariel in The Tempest with Orchestra dell’Accademia Nazionale di Santa Cecilia and with Festival Opéra de Québec, both conducted by Adès; Madame Mao in Nixon in China with Lyric Opera of Kansas City; Queen of the Night with Teatro dell’Opera di Roma; soloist in George Crumb’s Star Child with the American Symphony Orchestra at Carnegie Hall; Gretel with Intermountain Opera Festival; soloist in Amy Beach’s Grand Mass in E-flat Major and Debussy’s Martyrdom of St. Sebastien, both with the National Philharmonic; her debut with the Metropolitan Opera as the Queen of the Night and Najade in Ariadne auf Naxos; title role in Lucia di Lammermoor with Opera Naples; Venus in Le Grand Macabre with New York Philharmonic, conducted by Alan Gilbert; soloist with Los Angeles Philharmonic in Unsuk Chin’s Cantatrix Sopranica; Messiah with National Philharmonic; Mozart’s Mass in C Minor with Valdosta Symphony Orchestra; and Rosina in Il barbiere di Siviglia with Opera Memphis and Mississippi Opera.
Other highlights include the Queen of the Night with Spoleto Festival USA, Cincinnati, Santa Fe and Pittsburgh operas, and Opera Ontario; Zerbinetta with Tanglewood Music Festival; Cunegonde with Toledo Opera; Gilda in Rigoletto with San Antonio Opera; Rosina with Portland SummerFest; Gretel in Hänsel und Gretelwith Syracuse Opera; Blondchen in Die Entführung aus dem Serail, Juliette in Roméo et Juliette, and Anne in Sondheim’s A Little Night Music, all with Hawaii Opera Theatre; The Controller in Jonathan Dove’s Flight, Adina in L’elisir d’amore, Giulietta in I Capuleti e i Montecchi, and Erisbe in Cavalli’s Ormindo, all with Pittsburgh Opera (as a resident artist); the Accuser in Bright Sheng’s world premiere of Madame Mao as an apprentice artist with Santa Fe Opera; and Amor in Orfeo ed Euridice with Bel Canto Northwest Festival. With the National Philharmonic she has performed as soloist in Brahms’ Requiem, Orff’s Carmina Burana, Makris’ Symphony for Soprano and Strings, and Vivaldi’s Gloria. She also appeared in recital, making her European debut, at the Bach to Bartók Festival in Imola, Italy.
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