back to top

Biography 637 words

Download biography as pdf Download biography as word doc

Jane Archibald's career trajectory, which began in Nova Scotia, Canada, has taken her from Toronto to San Francisco to the Vienna State Opera and beyond. Her artistry generates excitement across Europe and North America with recent engagements including the title role in Lucia di Lammermoor and Konstanze in Zurich, Adele and Ophélie at the Met, Olympia, Zerbinetta and Cleopatra at the Opéra National de Paris, Sophie Der Rosenkavalier at La Scala Milan and in Berlin, Zerbinetta at Baden-Baden Festspielhaus, the Royal Opera House Covent Garden and in Munich, aswell as Semele at the Canadian Opera Company. After beginning her professional opera career in her native Canada, Jane made her San Francisco Opera debut in 2005 as Elvira in L'Italiana in Algeri, and was an Adler Fellow and Merola participant with the San Francisco Opera. During her tenure as a member of the ensemble of the Vienna State Opera, Jane successfully debuted major roles including the Queen of the Night, Olympia, Sophie (Der Rosenkavalier and Werther), Eudoxie (La Juive) and Musetta. She performed Queen of the Night for the Opéra de Marseille, Opera Toulouse and the Frankfurt Opera, and gave significant early role debuts

read more...

Jane Archibald's career trajectory, which began in Nova Scotia, Canada, has taken her from Toronto to San Francisco to the Vienna State Opera and beyond. Her artistry generates excitement across Europe and North America with recent engagements including the title role in Lucia di Lammermoor and Konstanze in Zurich, Adele and Ophélie at the Met, Olympia, Zerbinetta and Cleopatra at the Opéra National de Paris, Sophie Der Rosenkavalier at La Scala Milan and in Berlin, Zerbinetta at Baden-Baden Festspielhaus, the Royal Opera House Covent Garden and in Munich, aswell as Semele at the Canadian Opera Company.

After beginning her professional opera career in her native Canada, Jane made her San Francisco Opera debut in 2005 as Elvira in L'Italiana in Algeri, and was an Adler Fellow and Merola participant with the San Francisco Opera.

During her tenure as a member of the ensemble of the Vienna State Opera, Jane successfully debuted major roles including the Queen of the Night, Olympia, Sophie (Der Rosenkavalier and Werther), Eudoxie (La Juive) and Musetta. She performed Queen of the Night for the Opéra de Marseille, Opera Toulouse and the Frankfurt Opera, and gave significant early role debuts as Cleopatra in Marseille and Zerbinetta in Geneva. She has also appeared as Zerbinetta at the Bavarian State Opera and Deutsche Oper Berlin, as Lucia, Konstanze and Almirena (Rinaldo) at the Zürich Opera House; and in Davide Penitente with the Berlin Philharmonic and Louis Langrée. Last season, she appeared as Adele in a new production of Strauss’s Die Fledermaus at the Met, following her debut there as Ophélie in Thomas’ Hamlet. Further 2013/14 engagements included Olympia at the Opernhaus Zürich, Zerbinetta in Munich and at the Royal Opera House as well as Strauss’ Four Last Songs with Symphony Nova Scotia and Davide Penitente in concert with the Cincinnatii Symphony orchestra and Louis Langrée.

For the 2014/15 season, engagements included Ligeti’s Requiem with the Royal Concertgebouw Orchestra, Königin der Nacht at the Opera National de Paris and her Donna Anna role debut for the Canadian Opera Company. More recently Jane has sung the roles of Konstanze for Festival d’Aix en Provence, Olympia in Offenbach’s Les Contes d’Hoffmann at the Munich Staatsoper and the Queen of the Night in Robert Carson’s production of the Magic Flute with Paris Opera. Operatic roles for the upcoming 2015/16 season include 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 and finally Konstanze in a production of Die Entführung aus dem Serail with Opera Lyon.

Recent 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. In late 2015 Jane will also perform with the Seattle Symphony in a concert to include repertoire by Faure and Messiaen.

Her first solo CD, a programme of Haydn coloratura arias, has been released on the ATMA Classique label and won the 2012 JUNO Award for Classical Album of the Year. She has been critically acclaimed for her earlier recordings of works by Vivaldi and Charpentier with the Aradia Ensemble for Naxos and Strauss' Deutsche Motette with Accentus for the Naive label. A Canada Council grant recipient, she was also the 2006 winner of the Sylva Gelber Foundation award for the most talented musician under 30. Jane lives in Halifax, NS, with her husband, tenor Kurt Streit, and their two children.


September 2015

back to top

Photos

back to top

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