Allegra De Vita
American mezzo-soprano Allegra De Vita, a 2015 Metropolitan Opera National Council Audition Grand Finalist, is in her second season as a young artist with Washington National Opera’s Domingo-Cafritz Young Artist Program. In the 2017/18 season at WNO, Ms. De Vita will perform Rosina in Il Barbiere di Siviglia, Tebaldo in Don Carlo, The Fox in The Little Prince and Zegner Sister 2 in the American Opera Initiative premiere Proving Up. Elsewhere, she will perform Arsamenes in Xerxes, conducted by Nicole Paiement, for a return to Glimmerglass Festival, and Tancredi in Erminio with Opera Lafayette, with performances in both New York and Washington, DC. Concert highlights include the Mozart Requiem with The Choral Arts Society of Washington.
In the 2016/17 season, Ms. De Vita performed Isaura in Tancredi with Opera Philadelphia, opposite Stephanie Blythe, Pippo in La Gazza Ladra with the Glimmerglass Festival, Olga in Eugene Onegin with Syracuse Opera, and at Washington National Opera, Cherubino in Le Nozze di Figaro, Kate Pinkerton in Madama Butterfly and the title role in The Dictator’s Wife, a world-premiere piece by Mohammed Fairouz.
In past seasons, Allegra De Vita has performed Charlotte in Werther, the title role in Ariodante, Romeo in I Capuleti e i Montecchi, Nicklausse in Les Contes d’Hoffmann, Zerlina in Don Giovanni, Dorabella in Così fan tutte, Ruggiero in Alcina, Zita in Gianni Schicchi, Erminella in Volpone, Florence Pike in Albert Herring, Fulvio in the American premiere of Cato in Utica, Flora in La Traviata, Lola in Cavalleria Rusticana, Nerone in Monteverdi’s L’incoronazione di Poppea, Jordan Baker in John Harbison’s The Great Gatsby, the Monitor in Suor Angelica and both Dido and the Sorceress in Dido and Aeneas.
On the concert stage, Ms. De Vita has performed Handel’s Messiah with the New Haven Symphony, Beethoven’s Symphony No. 9 with the Naples Philharmonic and Lexington Philharmonic, Ravel’s Shéhérazade with the Allen Philharmonic, Mozart’s Laudamus Te and Alleluia, as well as Forrest’s Requiem for the Living with The Montgomery County Choral Society, a concert of Baroque arias with the Dolce Suono Ensemble in Philadelphia, and a concert entitled Utterly Romantic with the Jupiter Symphony in New York.
On the competition circuit, Allegra De Vita received second prize in the 2016 Jenson Foundation competition, and fifth in the Giulio Gari Foundation competition. In 2014, Ms. De Vita won the gold medal in voice and was the Grand Prize winner in the Young Texas Artists Competition, as well as First Place in the Amici Vocal Competition. She also placed second in the National Opera Association’s Carolyn Bailey and Dominick Argento Vocal Competition and was a winner in both the Connecticut Opera Guild Young Artists Scholarship Competition and the Young Patronesses of the Opera Vocal Competition.
In addition to her master’s degree in voice from Rice University, Allegra De Vita holds a BA magna cum laude in biology, with a concentration in neuroscience as well as minors in both voice performance and the honors program from Sacred Heart University. She was also a resident artist for one season at the Academy of Vocal Arts, Philadelphia. Originally from Trumbull, Connecticut, Ms. De Vita studies with Dr. Stephen King.
“…through Isaura’s refreshingly humane aria. (This was superbly performed by mezzo Allegra De Vita, who was fully the equal, vocally and dramatically, of her more experienced colleagues.) ”
“As Caesar’s lieutenant Fulvio, mezzo Allegra De Vita (yet another Young Artist) offered some of the best singing of the evening; her voice is compact yet well-projected, and this role’s demanding passagework was dispatched with bravura.”
“As Arsemenes, the king’s brother and romantic rival, Allegra De Vita offered an impeccable performance. Her complex mezzo, with its fine-spun vibrato, was lovely in itself, but it also consistently conveyed human utterance: when De Vita sang, you could hear Arsemenes speak. She was especially adept in her precisely etched trills and ornaments, each conveying expressive intent while giving shape to the musical line as a whole.”
“Arsamene’s, searchingly performed by the beautiful-voiced, stylistically secure and textually connected Allegra de Vita) had their desired effect. Not one of the others did.”
David Schengold, Opera News