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American soprano Amber Wagner was recently featured in Opera News as one of twenty-five artists poised to break out and become a major force in classical music in the coming decade. The Chicago Tribune has praised Ms. Wagner for her, “gleaming, ample and effortless sound” and exclaimed that she possesses “[a] gorgeous, creamy tone… This is one remarkable voice.” In the 2016-2017 season, Amber Wagner will make her Australian debut with Opera Australia in Melbourne as Sieglinde in Wagner’s Die Walküre and return to the Metropolitan Opera as Senta in Wagner’s Der fliegende Holländer, conducted by Yannick Nézet-Séguin. In Europe, she will reprise the title role in Strauss’ Ariadne auf Naxos for her debut with Opéra national de Lorraine à Nancy. Ms. Wagner will also make her New York recital debut with the George London Foundation at the Morgan Library. Finally, she will return to the Orquesta Filarmónica de Jalisco in Guadalajara, Mexico for her first recording of select Wagner works. Amber Wagner’s 2015-2016 season included a debut at the Bayerische Staatsoper in the title role

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American soprano Amber Wagner was recently featured in Opera News as one of twenty-five artists poised to break out and become a major force in classical music in the coming decade. The Chicago Tribune has praised Ms. Wagner for her, “gleaming, ample and effortless sound” and exclaimed that she possesses “[a] gorgeous, creamy tone… This is one remarkable voice.”

In the 2016-2017 season, Amber Wagner will make her Australian debut with Opera Australia in Melbourne as Sieglinde in Wagner’s Die Walküre and return to the Metropolitan Opera as Senta in Wagner’s Der fliegende Holländer, conducted by Yannick Nézet-Séguin. In Europe, she will reprise the title role in Strauss’ Ariadne auf Naxos for her debut with Opéra national de Lorraine à Nancy. Ms. Wagner will also make her New York recital debut with the George London Foundation at the Morgan Library. Finally, she will return to the Orquesta Filarmónica de Jalisco in Guadalajara, Mexico for her first recording of select Wagner works.

Amber Wagner’s 2015-2016 season included a debut at the Bayerische Staatsoper in the title role of Ariadne auf Naxos, opposite Jonas Kaufmann and conducted by Kirill Petrenko, a role she later reprised in the season for her company debuts with Minnesota Opera and Palm Beach Opera. She also returned to Oper Frankfurt for Senta and Sieglinde. On the concert stage, Ms. Wagner performed Verdi’s Requiem with the Los Angeles Master Chorale, the Milwaukee Symphony Orchestra under the baton of Asher Fisch, as well as a concert of select Wagner works with the Minnesota Orchestra, also conducted by Asher Fisch. With the Orquesta Filarmónica de Jalisco she performed several Strauss Lieder and Mahler’s Symphony No. 4, and appeared in recital with mezzo-soprano Jamie Barton under the auspices of the Tucson Desert Song Festival and Arizona Opera.

In the 2014-2015 season, Ms. Wagner returned to Lyric Opera of Chicago for a role debut as Leonora in Verdi’s Il Trovatore conducted by Asher Fisch, and as Elisabeth in Wagner’s Tannhäuser conducted by Sir Andrew Davis. Orchestral engagements included Verdi’s Requiem, her debut with the Toronto Symphony Orchestra under the baton of Sir Andrew Davis, L’Orchestre Philharmonique de Nice conducted by Philippe Auguin, and the Houston Symphony conducted by Andrés Orozco-Estrada; an all-Wagner program with the Orquesta Filarmónica de Jalisco, Beethoven’s Symphony No. 9 with the Russian National Orchestra at the Napa Valley Festival del Sole, and Senta in a concert performance with the Chicago Symphony Orchestra at the Ravinia Festival, conducted by James Conlon.

Ms. Wagner’s recent operatic engagements include her European debut with the Prague State Opera as Brangäne in Wagner’s Tristan und Isolde; appearances as Elsa in Wagner’s Lohengrin with Lyric Opera of Chicago conducted by Sir Andrew Davis; Elsa and Senta with the Savonlinna Opera Festival; Leonora in Verdi’s La forza del destino at Washington National Opera in a new production directed by Francesca Zambello; her Metropolitan Opera debut as Anna in Verdi’s Nabucco, and her return as Amelia in Verdi’s Un Ballo in Maschera conducted by Fabio Luisi; the title role in Ariadne auf Naxos at Lyric Opera of Chicago and in concert performances at the Palau de les Arts Reina Sofia in Valencia, both conducted by Mo. Davis, as well as with the Canadian Opera Company, and Sieglinde at Oper Frankfurt conducted by Sebastian Weigle.

Symphonic highlights include Verdi’s Requiem with the Melbourne Symphony under Sir Andrew Davis, as well as with the Taipei Symphony, Pacific Chorale, Kansas City Symphony, Tucson Symphony, Colorado Symphony, and Grant Park Music Festival; Strauss’ Vier letzte Lieder with the Orquesta Filarmónica de Jalisco, Spokane Symphony, and Oregon Symphony; a concert of Strauss songs with L’Orchestre Philharmonique de Nice; Mahler’s Symphony No. 8 with the Aspen Music Festival conducted by Robert Spano; Sieglinde in Act 1 in concert performances of Die Walküre with the Colorado Symphony; and Beethoven’s Symphony No. 9 with the Grant Park Music Festival and Rossini’s Stabat Mater with the Oregon Symphony. Ms. Wagner also participated in the Metropolitan Opera’s summer concert series in Central Park and Brooklyn Bridge Park in New York City, and in Lyric Opera of Chicago’s Millennium Park concert, where she sang excerpts from Cavalleria Rusticana.

Amber Wagner is a winner of the Metropolitan Opera National Council Audition Grand Finals, Liederkranz Foundation Competition, and recipient of a Richard Tucker Career Grant Award, Kirsten Flagstad Award from the George London Foundation, and Sullivan Foundation Career Grant. She is also the first place winner of the Palm Beach Opera and Palm Springs Opera Guild Competitions, winner of the Lynne Harvey Scholarship from the Musicians Club of Women, and winner of the Union League Civic and Arts Foundation Competition. As part of her participation in the 2007 Metropolitan Opera National Council Auditions, Ms. Wagner was also featured in the documentary “The Audition.” She is a na

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Reviews

"[As Elisabeth in Tannhäuser]...she produced a gleaming, ample and effortless sound that also was warm and womanly when it needed to be. This is a great role for Amber Wagner and she, too, scored a triumph."

John von Rhein, Chicago Tribune

"As if to prove that one can have sound and dramatic intent, Amber Wagner sings Elisabeth with a gorgeous, pearly-yet-warm sound that alternately conveys worry, pride and even faintness of spirit. These states are part of the sound, mind you: when Elisabeth is anxious, for example, Wagner’s voice pairs a quick vibrato with an attack that is never late, capturing a mind that’s spinning faster than her words. And while Botha livens up a little in the later acts, finding moments of urgency, it is Wagner who really shines as this opera progresses. In the third act, her already exemplary voice seems to enter a new zone of relaxation and openness. She sings with a deepened command and an access to a horizon of sound that make it seem as though her throat had found six more inches of release. It’s a phenomenal performance."

Dan Wang, Bachtrack

"As Leonora, soprano Amber Wagner spun reams of gorgeous, creamy tone… This is one remarkable voice."

John von Rhein, Chicago Tribune

"The music just poured naturally from her at all times, whether in mournful or soaring sections. Like her character at opera’s end, she is going places, and currently they appear to have no limit."

Ariadne in Ariadne auf Naxos, Lyric Opera of Chicago, Andrew Patner, Chicago Sun Times

"… Amber Wagner’s soprano has a radiant lyrical sensitivity and large volume of glowing power. She gave the performance a beautiful longing and pure voice."

Elsa in Lohengrin, Savonlinna Festival, Helsingin Sanomat, Kavela Newspaper

"…throughout the evening Wagner displayed the presence and command of an artist of twice her experience. Her voice poured forth rhapsodically in exquisitely phrased lines while she more than matched the intensity of the formidable Botha as Lohengrin, the Swan Knight who comes to rescue her.Brava to Miss Wagner; even Schuster, as the show-stopping villainess Ortud, pulled her aside for a special ovation during the final bows."

Elsa in Lohengrin, Lyric Opera of Chicago, Laura Emerick, Chicago Sun Times

"Although one would have liked to hear more from her, Amber Wagner sang splendidly, her large, voluptuous voice easily riding the choral crests in the "Easter Hymn" from Mascagni's "Cavalleria Rusticana." If Lyric is looking for a Santuzza when it revives this verismo warhorse, it need look no further."

John von Rhein, Chicago Tribune

"But most memorable was soprano Amber Wagner, who sang two Wagnerian death arias, matching the orchestra not only in volume level, but in passion. Opera excerpts can feel out of place at an orchestra concert, but Amber Wagner’s were deeply involving. Each aria was the finale from a landmark work in which a grieving heroine mourns beside the hero’s corpse before choosing to join him in death. The first was from “Tristan and Isolde,” the second Brunnhilde’s immolation scene from “Gotterdammerung,” a scene that brings Wagner’s massive “Ring” cycle to a close. As Isolde, the soprano’s spine-tingling high notes were complemented by heart-melting evocations of desire and loss, while Brunnhilde’s fiery climax demonstrated her velvety low range to be almost equally powerful. And that’s saying something when the orchestra is unleashing its forces to such a degree. "

Rob Hubbard, Pioneer Press