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Jane Archibald's career trajectory has taken her from Canada to San Francisco to the Vienna State Opera and major opera houses on both continents. Her artistry has generated excitement across Europe and North America with recent engagements including Lucia and Konstanze in Zurich, Adele and Ophélie at the Met, Olympia, Zerbinetta and Cleopatra at the Opéra National de Paris, Sophie at La Scala Milan and in Berlin, Zerbinetta at Baden-Baden Festspielhaus, the Royal Opera House Covent Garden and in Munich, as well as Semele at the Canadian Opera Company. After beginning her professional opera career in her native Canada, Jane was an Adler Fellow and Merola participant with the San Francisco Opera. She then moved to the Vienna State Opera as a member of the ensemble, debuting many of the coloratura roles she continues to sing today. Jane Archibald stunned the world public with her extraordinary technical ability and breath control in the role of Handel’s Semele in 2012, which was highly praised by Opera News, describing Archibald’s performance as “outstanding” and “simply spectacular” (Opera News, August 2012). The 2016/17 season will find Ms. Archibald debuting the role of Ginevra

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Jane Archibald's career trajectory has taken her from Canada to San Francisco to the Vienna State Opera and major opera houses on both continents.

Her artistry has generated excitement across Europe and North America with recent engagements including Lucia and Konstanze in Zurich, Adele and Ophélie at the Met, Olympia, Zerbinetta and Cleopatra at the Opéra National de Paris, Sophie at La Scala Milan and in Berlin, Zerbinetta at Baden-Baden Festspielhaus, the Royal Opera House Covent Garden and in Munich, as well as Semele at the Canadian Opera Company.

After beginning her professional opera career in her native Canada, Jane was an Adler Fellow and Merola participant with the San Francisco Opera. She then moved to the Vienna State Opera as a member of the ensemble, debuting many of the coloratura roles she continues to sing today. Jane Archibald stunned the world public with her extraordinary technical ability and breath control in the role of Handel’s Semele in 2012, which was highly praised by Opera News, describing Archibald’s performance as “outstanding” and “simply spectacular” (Opera News, August 2012).

The 2016/17 season will find Ms. Archibald debuting the role of Ginevra in Ariodante with Canadian Opera company, and revisiting Donna Anna for Theater an der Wien, Konstanze at the Théâtre du Capitole in Toulouse, Zerbinetta with the Bayerische Staatsoper, Angelica (Haydn’s Orlando Paladino) at the Zurich Opera House, and, finally, Adele in a new production of Strauss’s Die Fledermaus with Santa Fe Opera.

Archibald’s concert engagements for the upcoming season will include recording Messiaen’s Poèmes pour Mi with the Seattle Symphony and a performance at the Aids Gala 2017, the 8th Festive Opera Gala in Support of the German Aids Foundation in Düsseldorf.

Recent additions to her repertoire have included Ligeti’s Requiem with the Royal Concertgebouw Orchestra and Donna Anna for the Canadian Opera Company. Jane has recently sung the roles of Konstanze for Festival d’Aix en Provence and Olympia in Offenbach’s Les Contes d’Hoffmann in Munich. Last season she sang Zerbinetta in Christof Loy’s production of Ariadne auf Naxos at the Royal Opera House, Susanna in The Marriage of Figaro with the Canadian Opera Company, Cunegonde in Bernstein’s Candide with Hamburg Symphony Orchestra and Konstanze in productions of Die Entführung aus dem Serail at the Theatre des Champs Elysées with Jérémie Rhorer and with the Opera de Lyon under the baton of Stefano Montanari.

Her many concert highlights include Mozart’s Exsultate Jubilate with Lorin Mazel and the Orchestra of La Scala, Brahms’ Requiem with the San Francisco Symphony Orchestra and Michael Tilson-Thomas, Messiaen’s Poèmes pour Mi with Christian Thielemann and the Berlin Philharmonic and Mozart arias with the Camerata Salzburg and Louis Langrée.

Jane has featured on multiple recordings and DVDs. Her first solo CD, a programme of Haydn coloratura arias, was released on the ATMA Classique label and won the 2012 JUNO Award for Classical Album of the Year. A newly released recording of Die Entführung aus dem Serail (June 2016) with conductor Jéremie Rhorer, is receiving rave reviews. Jane lives in Halifax, NS, with her husband, tenor Kurt Streit, and their two children.

 

September 2016

 

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Reviews

"...a fine cast of excellent voices, led by Canadians Russell Braun, Michael Schade, and Jane Archibald – a musical tour de force. ... Jane Archibald's Donna Anna was thrilling from first note to last, with a sweep and an edge that made her presence on stage aurally riveting. "

The Globe and Mail

"Jane Archibald's "Ach! Ich liebte” is dramatic and causes chills, the “Traurigkeit” is simply exquisite, and "Martern aller artern,” is, without a doubt, the height of virtuosity! Whether it be her projection, tone, intensity, breath or agility, as a soloist or in the many ensembles, her voice radiates and surprises at every moment."

ClassiqueNews.com

"The overall tone is always right, passing from melancholy to burlesque, from buoyant to falsely serious, in short, Mozartian. Qualifiers that could all be equally applied to Jane Archibald. The Canadian soprano convinces from her initial aria. Usually sadly vexed, this Konstanze shows a rapidly beating heart, darting and slicing her high notes while giving nuance and variation as fitting. The second and third arias cemented the support of a very enthusiastic audience: the virtuosity of her vocalization, the ease, the legato, the breath, of course, but especially the psychological construction, sentence by sentence, of a young woman in combat with herself and with a man's world. "

ForumOpera.com

"Jane Archibald rightly earned a generous portion of the audience’s cheers for her Donna Anna, not only for the aching clarity of her voice, but the total commitment of her performance as a woman dragged from virtual rape through a parent’s death and into a world of erotic confusion."

The Star

"It was a grand night of singing… Soprano Jane Achibald had a triumph in her first ever Donna Anna – Her Coloratura in Non mi dir was perfect "

La Scena musicale

"An unbelievable mastery of singing, controlled with apparent ease… technical ease combined with a remarkable dramatic presence "

Le Figaro

"In the Camerata concert, she proved her reputation as "the coloratura soprano of our time" by first delicately singing "Ruhe Sanft" in the highest heights and, after that, practically allowing "the tiger of fate" to spring directly into the hall ("Tiger! Wetze nur die Klauen"). [...] Nothing is too heavy for Jane Archibald's stupendous vocal virtuosity. Her ornamentation in "des Himmels Segen belohne dich!" (from "Martern aller Arten") has not been heard this way before in Salzburg. Breathtaking!" "

Haydn, Camerata - Horst Reischenboeck, DrehPunkt Kultur

"Jane Archibald surely has few (any?) equals in the title role, her plush silvery soprano filling the house with a vibrant presence. Hers is one of the most assured techniques in the business, and she tossed of the coloratura of “Myself I shall adore” with utter confidence and great tonal beauty. The jaw-dropping accuracy and breath-taking rapidity of the (almost non-stop) melismas did not seem intended to be heard merely by mortal ears. But Ms. Archibald was much more that flash and dazzle. Her sonorous, limpid treatment of Handel’s legato phrases was no less impressive. "

Semele, Handel - James Sohre, Opera Today

"Archibald shows off a spectacular instrument and gorgeous technique in eight arias and one recitative from five operas... This is a treat from beginning to end."

John Terauds

"The voice is clear with clean, articulate, effortless runs - necessary ingredients for any coloratura. Haydn's vocal writing is often instrumental in nature, like woodwind parts, and Archibald negotiates the quick turns confidently. But, in the most lyrical sections, she also captures the conflicting emotions with a strong sense of drama and expression. The voice is lovely throughout."

Rick Phillipps, Opera Canada

"This well-chosen program of arias (and overtures) from Haydn's operas shows off her many gifts. She's a marvelous technician, with absolutely fluid coloratura, an old-fashioned but welcome bell-like sound at the top of her voice.., totally even production for the two-and-a-half octaves below that, and a lovely trill... Archibald is a charming artist."

Robert Levine

"With powerful coloratura pipes, Archibald melts the reactor core this scenes from L'anima del filosofo, ossia Orfeo ded Euridice (1791) and Orlando Paladino (1782)."

C. Michael Bailey

"...the coloratura of soprano Jane Archibald as Zerbinetta, who stopped the show with her brilliant vocal pyrotechnics. Together they represented what this opera is all about: the contrast between deep and profound art, and light, delightful entertainment."

Colin Eatock, The Globe And Mail

" ...And that is when Jane Archibald triumphs as Zerbinetta, a frivolous woman. From virtuosity to virtuosity, this production gives meaning to the succession of difficulties. It’s a veritable display of fireworks! The soprano remains a lovely bird, difficult for her companions to catch, ready for anything."

Marie Torrès, :Opéra national de Paris

"Canadian coloratura soprano Jane Archibald made her Metropolitan Opera debut and role debut as Ophélie in “Hamlet” on April 5. The strikingly attractive, angular blonde soprano has a youthful sound and stage presence that convinced one of the character’s innocence and fragility. Her voice is a lovely, pearly-toned instrument that moved effortlessly from full lyric outpouring to scintillating coloratura display. Her Mad Scene got one of the strongest ovations of the evening, even after a disturbing smoke incident caused by an overheated lighting instrument cleared the balconies. She is currently active on German stages; the Met should convince Archibald to return stateside on a regular basis. "

Eli Jacobson, Gay City News

"...Jane Archibald is magnetic, witty and winning as a flapper Zerbinetta à la Sally Bowles. With her almost casual brilliance in the aria "Grossmächtige Prinzessin," Archibald stops the show."

David J. Baker. Opera News