Contralto Malin Fritz has been praised by Opera News for her “dignity and excellent vocalism,” while La Libre Belgique hailed her as “a dream Carmen, with a warm, deep timbre and seductive physique.” Her recording of Giulio Cesare on Koch International led Fanfare magazine to exclaim, “Fritz is a genuinely touching Cornelia who invests her lines with dark tone and throbbing intensity.” In 2016 she is soloist in a return to Sacramento Choral Society and Orchestra in Haydn’s Harmoniemesse.
Recently Ms. Fritz sang as the Baroness in West Edge Opera’s production of Barber’s Vanessa and, on the concert stage, was soloist with Sacramento Choral Society and Orchestra in Stanford’s “Stabat Mater, Opus 96.”
Other recent highlights include soloist in Messiah with the Houston Symphony and Pacific Symphony; in Beethoven’s Mass in C with the Wichita Symphony Orchestra; her return to Jacksonville Symphony Orchestra under Fabio Mechetti in Beethoven’s Symphony No. 9; a recital at Stanford University; a concert of opera arias with the Santa Rosa Symphony; singing Grandma Moss in The Tender Land with Berkeley Opera; appearances with the Jacksonville Symphony Orchestra as soloist in Mahler’s Symphony No. 2; and as soloist in Verdi’s Requiem with the Key Chorale in Sarasota, Florida. She also returned to the Metropolitan Opera as the Third Lady in Die Zauberflöte and performed Beethoven’s Symphony No. 9 with the Baltimore Symphony Orchestra.
Among Ms. Fritz's successes on the operatic stage are performances of Third Lady in Die Zauberflöte and Moses und Aron with the Metropolitan Opera as well as the role of Schwertleite in Die Walküre in the company's tour to Japan, Azucena in Il trovatore with Monterey Opera, Opera San Jose, Sarasota Opera; Amneris in Aida with Syracuse Opera and the Brevard Music Festival; and the title role in Carmen with the Estonian National Opera, Opera San Jose, and in performances across Belgium. She has also performed Cornelia in Giulio Cesare with Virginia Opera; Antonia's Mother in Les Contes d'Hoffmann and the Third Lady in Die Zauberflöte with New York City Opera; the title role in Gluck's Orfeo ed Euridice with the Elysian Opera Group in New York; scenes from Wuorinen's Haroun and the Sea of Stories at the Guggenheim Museum in New York; and Menotti's The Consul with the Festival Dei Due Mondi in Spoleto, Italy.
Her orchestral credits include Prokofiev's Alexander Nevsky with the Virginia Symphony; Beethoven's Symphony No. 9 with Syracuse and Cape symphony orchestras; Janácek's Glagolitic Mass, Bach's Magnificat, and Mahler's Symphony No. 3 with the Milwaukee Symphony; Elgar's The Dream of Gerontius with the Toledo Symphony (where she has also sung the Verdi Requiem and Mahler's Symphony No. 3); Tchaikovsky's rarely heard cantata, Moscow, with the American-Russian Youth Symphony at both Tanglewood Music Festival and Carnegie Hall; Mozart's Requiem with the Tucson Symphony and Long Beach Symphony; Verdi's Requiem with the Nashville, Syracuse, and Canton symphonies; and Handel's Messiah with the University Musical Society at Ann Arbor. She has also given a recital of Tchaikovsky songs with the Bard Festival at Lincoln Center.
In addition to the recording of Giulio Cesare, Ms. Fritz can also be heard as Vera Boronel on the Chandos recording of The Consul. She is a graduate of the New England Conservatory of Music, a Shoshana Foundation Richard F. Gold Career Grant Award winner, and was a National Finalist in the Metropolitan Opera Auditions.
09/2015 - PLEASE DESTROY ALL PREVIOUSLY DATED MATERIALS.
MODIFIED VERSIONS MUST BE APPROVED BY BARRETT ARTISTS.