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Radiant, Grammy®-Award winning, American mezzo-soprano Sasha Cooke triumphed as the title role in the world premiere of Mark Adamo’s The Gospel of Mary Magdalene at San Francisco Opera. She was hailed by the San Francisco Examiner for “her soaring and warm voice, crystalline diction and regal yet endearing presence”; Ms. Cooke as Mary was “the glory of the production”. Acclaimed by The New York Times as a “luminous standout” for her performances in chamber music, the versatile young mezzo has also been celebrated by The New Yorker for a “luminous tone, a generously supported musical line, a keen sense of verbal nuance, and a flair for seduction.” Symphonic engagements of Ms. Cooke’s 2013-2014 season include appearances with Alan Gilbert and the New York Philharmonic performing Britten’s Spring Symphony, Pierre Boulez and the Chicago Symphony, performances of Mahler’s Symphony No 2. with both Deutsches Symphonie-Orchester Berlin with Tugan Sokhiev and Columbus Symphony conducted by Jean Marie Zeituni. She will make her debut with The Philadelphia Orchestra under the baton of Cristian Macelaru and embark on a European tour with Michael Tilson Thomas and the

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Radiant, Grammy®-Award winning, American mezzo-soprano Sasha Cooke triumphed as the title role in the world premiere of Mark Adamo’s The Gospel of Mary Magdalene at San Francisco Opera. She was hailed by the San Francisco Examiner for “her soaring and warm voice, crystalline diction and regal yet endearing presence”; Ms. Cooke as Mary was “the glory of the production”. Acclaimed by The New York Times as a “luminous standout” for her performances in chamber music, the versatile young mezzo has also been celebrated by The New Yorker for a “luminous tone, a generously supported musical line, a keen sense of verbal nuance, and a flair for seduction.”

Symphonic engagements of Ms. Cooke’s 2013-2014 season include appearances with Alan Gilbert and the New York Philharmonic performing Britten’s Spring Symphony, Pierre Boulez and the Chicago Symphony, performances of Mahler’s Symphony No 2. with both Deutsches Symphonie-Orchester Berlin with Tugan Sokhiev and Columbus Symphony conducted by Jean Marie Zeituni. She will make her debut with The Philadelphia Orchestra under the baton of Cristian Macelaru and embark on a European tour with Michael Tilson Thomas and the San Francisco Symphony performing Mahler’s Third Symphony.

Also this season, Ms. Cooke debuts at Wigmore Hall performing in recital accompanied by Julius Drake and at Indianapolis Symphony and as a soloist in Verdi’s Requiem; role debuts include the title character in Anna Bolena at Opéra National de Bordeaux. As a recitalist, she will perform country at the University of Arkansas - Little Rock, Emory University, and Matinee Musicale in Duluth, Minnesota. Following a success in the 2012 season the mezzo-soprano will return to the Chamber Music Society of Lincoln Center in concert with Opus One and David Shifrin, this program will be reprised with Celebrity Series of Boston at Longy School of Music’s Pickman Hall. She will also appear with Chamber Music Northwest and Santa Fe Chamber Music Festival. A frequent performer of contemporary works, Ms. Cooke will debut the West Coast premiere and recording of Mohahammed Fairouz’s Symphony No. 3 (Poems and Prayers, appear with the LA Philharmonic in Phillip Glass’s The Civil Wars and perform a new work commissioned by Joby Talbot.

Sasha Cooke returned to the Hollywood Bowl in the summer of 2013 to perform Mahler’s Second Symphony with Michael Tilson Thomas and the Los Angeles Philharmonic, appeared at Chamber Music Northwest with Miró Quartet and Aspen Music Festival performing Mahler’s Fourth Symphony.

During 2012, Sasha Cooke opened the Hollywood Bowl’s summer season in Beethoven’s Ninth Symphony with Leonard Slatkin and the Los Angeles Philharmonic, and also appeared at Music@Menlo and the RoundTop Festival. She appeared in the closing concerts of the Aspen Music Festival and the Mostly Mozart Festival, with Robert Spano in Mahler’s Eighth Symphony and with Louis Langrée in Beethoven’s Mass in C, respectively. Returning to the Deutsches Symphonie-Orchester Berlin, Sasha performed songs by Bernstein, Copland, Bolcom, Barber and Gershwin in the inaugural concerts of new music director Tugan Sokiev in Berlin and at the Beethovenfest in Bonn. The season marked her San Francisco Opera debut as the title role in the world premiere of Mark Adamo’s The Gospel of Mary Magdalene, as well as her role debuts as Magnolia in Francesca Zambello’s production of Show Boat at Houston Grand Opera and as Sonja in Dominick Argento’s The Aspern Papers at Dallas Opera. She returned to the San Francisco Symphony in Beethoven’s Missa Solemnis under the baton of Michael Tilson Thomas, gives the world premiere of Augusta Read Thomas’s Earth Echoes with the Orpheus Chamber Orchestra at Carnegie Hall, appeared with the Chamber Music Society of Lincoln Center both in New York and in Mecklenberg, Germany, and sang Mahler’s Third Symphony with the Orchestre de Lyon. She also sang Bernstein’s “Jeremiah” Symphony with Leonard Slatkin and the Detroit Symphony, and Alexander Nevsky with Pinchas Steinberg and the Cleveland Orchestra. She returned to the New York Festival of Song for a program exploring the lives of women, joined the Mirò Quartet for music of Respighi and Schubert with Friends of Chamber Music Denver, and sang Das Lied von der Erde with the Columbus Symphony.

 

Throughout the summer of 2011 Ms. Cooke sang at numerous festivals, including Brahms’s Liebeslieder Walzer at Caramoor and Music@Menlo, as well as the Alto Rhapsody and Mahler’s Symphony No. 2 under the baton of Robert Spano in the closing concert of the 2011 Aspen Music Festival. The season found her return to Carnegie Hall with Robert Spano and the Orchestra of St. Luke’s in Bach’s Magnificat; she sang Debussy’s Le Martyre de Saint Sébastien with Michael Tilson Thomas and the San Francisco Symphony; and made her Boston Symphony Orchestra debut under the baton of Jiří Bělohlávek in John Harbison’s Fifth Symphony. She debuted with Leonard Slatkin and the Lyon Symphony in Mahler’s Second, performed the Asian premiere of John Corigliano’s One Sweet Morning with the Shanghai Symphony, and toured with the New Zealand Symphony in Mahler’s Lieder Eines Fahrenden Gesellen and Chausson’s Poème de l’amour et de la mer. Ms. Cooke also sang Beethoven’s Ninth with the Houston and Kansas City symphonies, premiered a William Bolcom piece in recital with Marilyn Horne’s “The Song Continues” at Zankel Hall, and joined Musica Sacra for holiday performances of Handel’s Messiah at Carnegie Hall.

The 2010/11 season brought several notable debuts for Sasha Cooke: with Deutsches Symphonie-Orchester Berlin in Mahler’s Rückert Lieder; with the Saint Paul Chamber Orchestra and Edo de Waart in Das Lied von der Erde; with Louis Langrée and the Mostly Mozart Festival Orchestra in Mozart’s Davidde penitente;  and with Jeffrey Kahane and the Los Angeles Chamber Orchestra in sacred music of Bach. She performed Mahler’s “Resurrection” Symphony  with Gerard Schwarz and the Seattle Symphony as well as performing at the Luzerne Festival in Les nuits d'Ete with the San Francisco Symphony; reprised Alexander Nevsky and Brahms’s Alto Rhapsody with the Kansas City Symphony; essayed the title role in a concert version of Carmen with the Brazos Valley Symphony in Texas; and gave recitals at the Kennedy Center, Merkin Concert Hall, and the University of Minnesota.

Sasha Cooke opened the 2009/10 season of the Milwaukee Symphony with Bernstein’s “Jeremiah” Symphony in the inaugural concerts of new music director Edo de Waart. She performed two engagements with Michael Tilson Thomas and the San Francisco Symphony—Stravinsky’s Pulcinella and Berlioz’s Les nuits d’Été; joined Bernard Haitink and the Chicago Symphony Orchestra for Mendelssohn’s A Midsummer Night’s Dream; and made her debut with the Hong Kong Philharmonic in Mahler’s Das Lied von der Erde under the baton of Maestro de Waart. She also sang Ravel’s Shéhérazade and Cinq mélodies populaires grecques with the Chamber Music Society of Lincoln Center; Handel’s Messiah with the Seattle Symphony; Mahler’s “Resurrection” Symphony with Jaap van Zweden and the Dallas Symphony; Beethoven’s Ninth with Manfred Honeck and the Pittsburgh Symphony; Mozart’s Requiem with the San Diego Symphony; and Haydn’s “Lord Nelson” Mass with the Kansas City Symphony. On the opera stage, she made her Seattle Opera debut as Meg Page in Falstaff , conducted by Riccardo Frizza; and sang Medea in Cavalli’s seldom-performed Giasone at Chicago Opera Theater.

A dedicated recitalist, Ms. Cooke was presented by Young Concert Artists in her widely acclaimed New York and Washington debuts at Carnegie’s Zankel Hall and at the Kennedy Center, as well as in concerts throughout the U.S.  She has performed frequently with the New York Festival of Song at Merkin Concert Hall, and gave a duo recital with her husband, baritone Kelly Markgraf at Carnegie’s Weill Recital Hall under the auspices of the Marilyn Horne Foundation.

During the 2008/09 season, Ms. Cooke reprised her critically-acclaimed portrayal of Kitty Oppenheimer for her European debut at English National Opera. Concert engagements included Handel’s Messiah with the Baltimore Symphony and with the Oratorio Society of New York at Carnegie Hall; Brahms’s “Liebeslieder Walzer” accompanied by James Levine and Daniel Barenboim; Mahler’s Second Symphony with the Colorado Symphony under Jeffrey Kahane; Das Lied von der Erde at the Spoleto Festival; Harbison’s Fifth Symphony at the Aspen Music Festival; and  Les nuits d’Été with the Orchestra of St. Luke’s in the Young Concert Artists Gala Irene Diamond Concert at Alice Tully Hall. She also took on the title role in Gilbert & Sullivan’s Iolanthe in semi-staged concerts with George Manahan and the San Francisco Symphony.

Previously at the Metropolitan Opera, where she was a member of the Lindemann Young Artists Development Program, Ms. Cooke appeared as the Sandman in a new production of Hansel and Gretel, broadcast live in high definition to cinemas across the United States and later released on DVD. Highlights of recent seasons include the world premieres of John Musto’s “Bastianello” and William Bolcom’s “Lucrezia” with the New York Festival of Song; Chausson’s Poème de l'amour et de la mer at Miller Theater; the Marilyn Horne Foundation’s 2007 Gala at Zankel Hall; and Mozart’s Mass in C Minor with the Mozart Academy of San Luis Obispo.  Ms. Cooke participated in Seattle Opera’s young artist program, where she sang Meg Page in Verdi’s Falstaff.  She has also appeared as the Composer in Strauss’s Ariadne auf Naxos and Endimione in Cavalli’s La Calisto at The Juilliard School, Charlotte in Massenet’s Werther and Dorabella in Mozart’s Così fan tutte at Rice University, and Erika in Barber’s Vanessa with Central City Opera.

In 2010, she was awarded First Place and the American Prize in the José Iturbi International Music Competition, Top Prize in the Gerda Lissner Competition, and the Kennedy Center’s Marian Anderson Award. Additionally, Ms. Cooke earned First Prizes in the 2007 Sun Valley Opera Vocal Competition and the 2006 Bach Vocal Competition sponsored by the American Bach Society and The Bach Choir of Bethlehem, as well as Third Prize in the 2006 Licia Albanese-Puccini Competition.

A graduate of Rice University and the Juilliard School, Sasha Cooke also attended the Music Academy of the West, the Aspen Music Festival, the Ravinia Festival’s Steans Institute, the Wolf Trap Foundation, the Marlboro Music Festival, and Central City Opera’s Young Artist Training Program.

 

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Reviews

"The splendid mezzo-soprano Sasha Cooke brought dark colorings and penetrating richness to her solos. "

Anthony Tommasini. The New York Times

"The best thing about this performance [by the San Francisco Symphony at the Royal Festival Hall in London] was Sasha Cooke, the American mezzo whose resonant tone and intelligent projection raised the fourth movement [of Mahler's Third Symphony] to a different level."

Andrew Clark, Financial Times

"In the splendid aria "Parto, parto"... Sasha Cooke's timbre seems to have taken on an added richness since I last heard her. The singer's expressive qualities were, as ever, to the fore, and the power and beauty of her interpretation made me long to hear her at The Met again where lesser artists hold forth in roles that would suit Ms. Cooke to perfection. Be that as it may, her singing of the aria tonight, graced by Mr. Shifrin's polished roulades, was a thoroughly engrossing musico-dramatic experience."

Philip Gardner. Oberon's Grove

"Such combinations as the women in "Recordare, Jesu pie" and the three lower voices in "Lux aeterna luceat eis" brimmed with vitality and unanimity of expression. Cooke deserves special mention. In a world in which "mezzo-soprano" is the more marketable category, she is a true contralto...It's a certain tone quality, a penetrating timbre, that not only lends gravity to the frequent solos Verdi gives to the lower female voice, but also seems essential to make clearer the four solo lines in the "Offertorio" section. Cooke had the essential sound and the skill to shape it to the music's meaning"

Jay Harvey. Jay Harvey Upstage

"The best news in "Mary Magdalene" was Cooke's majestic performance. In her company debut, the American mezzo made a brilliant impression, her characterization composed of equal parts poise, radiance and elegant directness. Her honey-colored voice was deployed luxuriantly; Cooke sang with complete conviction, sounding unforced and lustrous throughout a long evening. "

Georgia Rowe. Opera News (September 2013)

"Mezzo-soprano Sasha Cooke added extra gleam to Friday’s Aspen Chamber Orchestra program under conductor Tomas Netopil. In Mahler’s Symphony No. 4, known as the composer’s most relaxed and approachable, Cooke offered a delightfully animated take on “The Heavenly Life” song finale. "

Harvey Steimann. The Aspen Times

"Between Britten and Mendelssohn...were five of the "Mörike-Lieder" of Hugo Wolf, wonderfully sung by the mesmerizing mezzo Sasha Cooke with subtle dramatic flair and an exquisite balance of vocal richness and focus...Cooke seemed carried aloft by them."

James Quillian. The Oregonian

"In the short fourth movement, the creamily exquisite mezzo-soprano Sasha Cooke sings of mortal anguish and heaven's calling."

Mark Swed. Los Angeles Times.

"Ms. Cooke brings winsome beauty and a rich, creamy voice to the role."

Anthony Tommasini. New York Times

"With her soaring and warm voice, crystalline diction and regal yet endearing presence, Sasha Cooke as Mary is the glory of the production"

Janos Gereben. San Francisco Examiner

"If Adamo wanted to create believers in the Magdalene, he could not have done better than write the role for the extraordinary mezzo-soprano Sasha Cooke, who on Wednesday night made a triumphant company debut in the title role...In a performance of dazzling vocal majesty and theatrical clarity, Cooke charted Mary's transformation from an unsettled seeker...to the self-contained teacher of a new gospel. Her singing was throaty, eloquent, and shimmeringly rich; the saintly nimbus that Renaissance painters suggested using gold paint attaches naturally to Cooke's voice."

Joshua Kosman. San Francisco Chronicle

"Mezzo-soprano Sasha Cooke's Mary is a modern feminine ideal, opulently sensuous, insistently sensible, deeply feeling and demandingly honest."

Mark Swed. Los Angeles Times

"Flanking Tilson Thomas were four soloists, all excellent -- though a special "hosanna" must go out to mezzo-soprano Sasha Cooke, whose singing of "miserere nobis" ("have mercy upon us") in the "Agnus Dei" was like an expanding column of pure concentrated sound. It was soulfully unnerving, shaking your inners, bringing to mind the likes of Callas and Coltrane. Wow."

Richard Scheinin. San Jose Mercury News

"Sasha Cooke's radiant soprano is perfect for Sonia"

Scott Cantrell. The Dallas Morning News

"Sonia is played with a cunning twist by Sasha Cooke...she conveys this simply and effectively in the way she sings the score in her melodious mezzo-soprano voice. "

Mark- Brian Sonna. Pegasus News

"Ms. Cooke’s performances in this program of love songs inspired by poetry were the highlight of the evening [...her] distinctive smoky timbre blended beautifully with the mellow tones of the viola; her phrasing and control were notable [...] She also wielded her expressive voice to fine effect in the alto solo in Schumann’s “Spanische Liebeslieder” for four voices and piano, four hands [...] The six musicians joined forces for the concluding work, Brahms’s “Liebeslieder Waltzer” for four voices and piano, four hands, with Ms. Cooke again the luminous standout in her solo"

Vivienne Schweitzer. New York Times

"In Der Einsame im Herbst her ravishing expression of the text’s world-weary protagonist sailed over the orchestra. And in the finale, Der Abschied — “Farewell” — her assured singing revealed a stunning expressive range, especially in her sinewy duets with the orchestra’s principal flutist and in her floating repetitions of the word ewig — “forever"

Jennifer Hambrick. The Columbus Dispatch

"Cooke's attractive, erotic stage presence struck plenty of sparks in "Doctor Atomic", but without question she also delivers the vocal goods. She possesses a firm, fruity mezzo, straight-toned in quality, which allows the listener to luxuriate in her unerring sense of pitch. And she has a strong yet subtle interpretive ability, one that draws the listener in. She doesn't play to the balconies; she makes "you" come to "her", as did the much-lamented Lorraine Hunt Lieberson[...]Cooke's performance is an exercise in simplicity"

Eric Myers. Opera News (February 2013)

"Sasha Cooke brings a rich, beautifully supported soprano to Magnolia, persuasively charting her growth from starry-eyed innocent to life-toughened survivor, with the right soignée polish in her late-in-the-action Ziegfeld turn "Nobody Else But Me"

Everett Evans. Houston Chronicle

"Sasha Cooke's Magnolia "Nolie" Hawks is sweet and loveable from beginning to end. Her arc from naïve and protected teenager to self-realized Broadway starlet is entirely believable and a joy to watch. Sasha Cooke's soprano instrument is breathtakingly beautiful, lending a decidedly and much appreciated operatic tonality to her performance. She shines magnificently on "You Are Love" and "Nobody Else But Me."

David Clarke. Broadway World

"With its setting of the "Lamentations of Jeremiah," the music speaks to a crisis of faith; the portentous weight of the strings underscored the angst. Mezzo-soprano Sasha Cooke's powerfully intense singing of the vocal finale deepened the mournful impression "

Mark Stryker. Detroit Free Press

"It turns out, manifestly Sasha Cooke can do just about everything: simple folksongs, easily and authoritatively rendered musical theater numbers by Gershwin and Weill, as well as comic parody songs interspersed with opera scenes. She has no peer at deftly capturing the faraway sultry mood of “Summertime.” She has remarkable, charismatic stage presence about her. With ease and showmanship, she wraps the audience around her little finger. Vocally faultless, she puts her heart and soul in it. Her appearance brought a heretofore neglected aspect to the Berlin Music Festival: the entertainingness of American music."

Andreas Goebel. Kulturradio

"The young singer, Sasha Cooke, enchanted the audience not only with her capacious voice, with naturalness in phrasing, with innate charm, as well as stage presence. She did not merely perform entertaining numbers. When the song called for it, Sasha Cooke recited, screaming downright shrilly at one point (in the first phrase of Leonard Bernstein’s “What a Movie!”) A gifted character actress, she gesticulated, moved in time to the music, even danced. All, however, within the bounds of good taste, stylistically fully realized on the spot. The shouts of “Bravo!” of the inspired audience accordingly validated the singer."

Leyla Jaspers. Klassik-in-Berlin

"She took immediate possession of the hall with three of Aaron Copland’s “American Songs,” with her pleasing, tone color endowed voice, an empathic interpreter spinning gripping stories from the little songs. After the Caberet Songs by William Bolcom—for which Sasha Cooke found precisely the right naughty, off-Broadway tone—she was lionized. For each of the numbers that followed, by Barber, Gershwin, Weill and Bernstein, there was a long round of applause, because she has charm, terrific natural stage presence—and that swing, so seldom found in classically trained singers."

Frederik Hannsen. Der Tagesspiel

"A still very young singer from California took the stage. She made her entrance in her blue taffeta gown, with such self-assurance as if she had been born a diva [...]This mezzo soprano has the blues in her voice, she has that swing in every fiber of her body. Her voice is wonderfully clear, with a timbre of liquid gold. She rocked the Philharmonie right from the first note of the Shaker song, “Simple Gifts,” she moved the audience so that the out-of-office politicians awoke, and the B-list celebrities felt like A-listers. All applauded like crazy, right after every selection. They didn’t want to let her leave. Her name is Sasha Cooke, a name to take note of"

Eleonore Büning. Frankfurter Allgemeine Zeitung

"Cooke performed with a pure and lovely tone that contrasted beautifully with the orchestra’s darker timbres. In addition to its lyric beauty and flexibility, Cooke’s voice packed a punch with its ability to reach the back rows of the Lyric. …. She has a lovely and expressive voice, surprisingly bright for a mezzo."

Timothy McDonald, The Kansas City Star

"The other disarmingly beautiful stretch of time came in the fourth movement with mezzo-soprano Sasha Cooke's poised, expansive song ‘Urlicht’ (‘Primeval Light’)… Cooke was mesmerizing, demonstrating that she has become a graceful singer with a rich, deep mezzo voice since her time here as a student."

Harvey Steiman, The Aspen Times

"In the more intimate scenes alternating with all this male-dominated bomb-creating, the increasingly highly regarded mezzo Sasha Cooke is outstanding as Kitty Oppenheimer, realizing the part with perfect diction and a surprising degree of empathy."

George Hall, Opera, June 2011

"Sasha Cooke brings Kitty to life. We ache for her in her loneliness and frustration. Her rendition of the aria ‘Am I in your light?’ is poignantly moving."

Arlo McKinnon, Opera News, June 2011

"In both selections Cooke sang [Bach cantatas with the L.A. Chamber Orchestra] with fresh, vibrant, well-focused tone and sensitivity to the dramatic nuances of the text."

Chris Pasles, Los Angeles Times

"Sasha Cooke is a big favorite of mine, and obviously of MTT as well. I can’t get enough of that rich mezzo sound with the bright soprano edge."

Philip Campbell, Bay Area Reporter

"Mezzo soprano Sasha Cooke, who burst upon the operatic scene with her brilliant performance as Kitty Oppenheimer in the Metropolitan Opera’s premiere of John Adam’s Doctor Atomic, is a star in the making. She sings Britten’s charming 'A Charm of Lullabies' with a perplexing bitter-sweetness that lies at the root of these songs. … Sasha Cooke performs Henry T. Burleigh’s arrangements of American spirituals ('Songs') with affecting vulnerability and verve. In Barber’s Four Songs, Op. 13, she demonstrates the range and strength of her voice in these gems by one of America’s great vocal composers. 'Sure on This Shining Night' is especially memorable."

Robert Moon, Audiophile Audition

"Most impressive, however, [in Mozart's 'Davidde penitente' at the Mostly Mozart Festival] was Sasha Cooke, a mezzo-soprano who rose to the lofty exploits of the second soprano with dynamic, expressive and technical brilliance."

Martin Bernheimer, The Financial Times

"[Cooke] is the next big thing in mezzos, singing with cut-glass precision and luminous depth -- and here bringing a world of ultimate sorrow and longing to these Spanish songs. A genuine stage presence and actor, she embraced the false surface jubilation of ‘Cancion,’ a song about treachery in love, while pushing the underbelly of heartbreak up toward the surface. With its multiple levels, it's a gorgeous trickster song, like Stephen Sondheim’s ‘Every Day a Little Death,’ and Cooke (who also sings Sondheim) knows just how to handle it."

Richard Scheinin, San Jose Mercury News

"[Britten’s] verse settings found an ideal interpreter in Sasha Cooke, who, with Barnatan’s able support, made a smashing festival debut. The young American mezzo-soprano revels in a rich, tawny tone and honours verbal as much as musical values. The concert world seems hers to command."

Allan Ulrich, The Financial Times

"The delight here was the lustrous and evocative singing of mezzo-soprano Sasha Cooke, who brought buoyant immediacy to the opening ‘Villanelle’ and an aching intensity to the lament ‘Sur les lagunes' [in Berlioz's 'Les nuits d’été with Michael Tilson Thomas and the San Francisco Symphony]."

Joshua Kosman, San Francisco Chronicle

"Cooke demonstrated a voice that combines the finest qualities of a lighter tone with a deeper range. The first song, ‘Anzolea avanti la regata’ (‘Anzoleta before the race’), was beautifully phrased with impressive musicality… Yes, Momolo won the race, and the mezzo rewarded him with extraordinarily clear and beautiful high notes in the final song"

Timothy McDonald, The Kansas City Star

"The evening opened with Leonard Bernstein's Symphony No. 1, ‘Jeremiah,’ featuring mezzo-soprano Sasha Cooke, who gave a sensitively sung performance that captured the aching character of the piece's Hebrew text and mixed tender moments with controlled power."

Elaine Schmidt, Milwaukee Journal Sentinel

"Its [Respighi’s ‘Il Tramonto’] dazzling performance by the Miró Quartet and mezzo-soprano Sasha Cooke opened the concert with a startling revelation….Cooke’s powerful voice displays the bright edge of a dramatic soprano, yet tempered with the clarity and warmth of a mezzo. A young singer, she made an impressive Met debut last fall as Kitty Oppenheimer in John Adams’s ‘Doctor Atomic,’ and her voice commanded the modest confines of Sherwood Auditorium. She opened with apparent ease the emotional floodgates the poet scattered across his so-happy-to-be-sad topography."

Kenneth Herman, SanDiego.com

"The mezzo-soprano Sasha Cooke, partly of Russian lineage, brought her idiomatic diction to selections by Tchaikovsky and Sergei Taneyev. […] Elgar’s ‘Sea Pictures’ offered a potent demonstration of Ms. Cooke’s rich, supple sound and passionate delivery."

Steve Smith, The New York Times

"“…Elgar’s ‘Sea Pictures,’ which mezzo Sasha Cooke sang as ravishingly as I have ever heard them sung."

Howard Kissell, New York Daily News

"The fine mezzo Sasha Cooke, who recently offered a vivid portrayal of Kitty Oppenheimer in John Adams’s ‘Doctor Atomic’ at the Metropolitan Opera, sang ‘Les Nuits d’été’ with an expressive, amber-hued voice. In ‘Sur les Lagunes’ tears ran down Ms. Cooke’s cheeks as she mourned a lost love."

Vivienne Schweitzer, The New York Times

"The mezzo-soprano Sasha Cooke—as Oppenheimer’s alcoholic wife, Kitty [in 'Doctor Atomic' at English National Opera]—possessed a fine lyrical voice and in an intimate scene in which she longed for her husband, she found once again that work observed all his time and energy. A member of the Metropolitan Opera’s Young Artist Development Program, Cooke’s a singer destined for a brilliant career!"

Tony Cooper, Norwich Evening News

"Of the soloists [in Handel's 'Messiah' at Carnegie Hall], the mezzo-soprano Sasha Cooke was the most consistently pleasing. Her burnished tone and carefully shaped lines invariably went directly to the heart of an aria, and although all the singers ornamented the repeats inventively, Ms. Cooke’s embellishments were expressive rather than merely showy."

Allan Kozinn, The New York Times

"New to ‘Atomic’ is the gifted young mezzo-soprano Sasha Cooke, as Kitty Oppenheimer. Perhaps because she had no nostalgia for the old production, she was able to create a fresh, vital portrayal, bringing a luminous tone, a generously supported musical line, a keen sense of verbal nuance, and a flair for seduction. Even if the Oppenheimers’ bedroom came out looking oddly like a suite in an Ian Schrager hotel, their duet emerged as the most psychologically cogent scene of the night—a billowing of sensual delirium into white-knuckle reality."

Alex Ross, The New Yorker

"Sasha Cooke sings with seductive fury."

Justin Davidson, New York Magazine

"Leading [mezzo-]soprano Sasha Cooke appeared to have a major success."

David Patrick Stearns, The Philadelphia Inquirer

"The scenes with Oppenheimer’s wife, Kitty, sung with aching, wistful intensity by the mezzo-soprano Sasha Cooke, are beautifully rendered."

Anthony Tommasini, The New York Times

"Ms. Cooke did well everywhere. She has a strong, healthy voice, and she is a good enough musician to handle Schumann’s ornamental turns of phrase with ease and clarity… the chance to hear this music rendered so correctly was cause for gratitude."

Bernard Holland, The New York Times

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Discography