American soprano Ann Toomey is a 2016 Metropolitan Opera National Council Auditions national semifinalist and 2019 Richard F. Gold Career Grant Recipient. Most recently, she made her European debut, to critical acclaim, performing the title role in Suor Angelica at the Berlin Philharmonie, under the baton of Kirill Petrenko. Later in the 2019-2020 season, she sings Dvořák’s Requiem with the Madison Symphony, as well as a concert of arias with the Fresno Philharmonic. This summer, she performs Tatyana in Eugene Onegin at Wolf Trap Opera.
During the 2018-2019 season, she performed as Musetta in La bohème with Lyric Opera of Chicago, completing her three-year residency with the Ryan Opera Center. She debuted at Lyric Opera of Chicago as First Lady in Die Zauberflöte and was also seen as the Fifth Maid in Elektra. She covered several roles during her time in Chicago, including Elettra (Idomeneo), Fiordiligi (Così fan tutte), and Micaëla (Carmen).Read more
Ms. Toomey has participated in nationally recognized young artist programs throughout the United States with the Lyric Opera of Chicago, Santa Fe Opera, and Opera Theatre of St. Louis. As an enthusiast of new operatic works, she helped develop the role of Boonyi in Jack Perla’s Shalimar the Clown with Cincinnati Opera Fusion: New Works.
Ms. Toomey completed her Master of Music degree at the University of Cincinnati-College Conservatory of Music after receiving a 2014 Corbett scholarship to attend the school. She appeared as Fiordiligi (Così fan tutte), the soprano soloist in Brahms’ Ein deutsches Requiem and as The Virgin in Honeger’s Jeanne d’Arc au bûcher. She earned her Bachelor of Music degree
in both music education and vocal performance at Oakland University (Rochester, Michigan) near her hometown of Shelby Township, MI.
“The excerpt from Catalani’s La Wally, ‘Ne andrò lontana,’ was an opportunity to hear the excellent range of soprano Ann Toomey. Her penetrating voice, when producing high, forte pitches, is clear and emphatic yet capable of shading to a sudden diminuendo as she equates her own departure to the ceasing of a bell’s toll.”
“Ann Toomey was in a league of her own at April’s Rising Stars concert. Having gotten a big break filling in for Danielle de Niese as Musetta in January, Toomey displayed a confidence using every corner of the stage and finding both extremes of volume in a lesser-known selection from Massenet’s Herodiade, ‘Je souffre!…Charme des jours passés.’ The soprano, who has shown she can sing anything from Whitney Houston to Violetta in her various assignments with ROC, completed her third and final year in the ensemble.”
“My love for Lyric’s Ryan Opera Center is no secret. I am genuinely sad when artists whom I have come to adore reach the end of their residence in this elite finishing program. Ann Toomey and Alan Higgs departed Chicago quickly to begin apprenticeships at Santa Fe Opera. Is it possible for any of their colleagues to have had as much stage experience as Toomey, who filled in as Musetta for Danielle De Niese, and who has easily been one of the ensemble’s most versatile sopranos with too many show-stopping performances to enumerate?” – Oliver Camacho, Vocal Arts Chicago
“The women of this cast did quite well by Menotti’s score, contralto Lauren Decker offering throaty low notes, ample bloom up top and voluptuousness of timbre throughout as Miss Todd. Soprano Ann Toomey held her own — and then some — as Laetitia, matching tone and gesture with Decker. Soprano Whitney Morrison brought aptly piercing pitch and comic edge to the role of Miss Pinkerton, capturing her character’s hysteria and malevolence as the plot thickened.” – Howard Reich, Chicago Tribune
“Soprano Ann Toomey got the best role of the opera, Laetitia—part of opera’s long tradition of saucy maids, as with Despina in Cosi fan tutte. Toomey’s emotional range was splendid. She captured all of Laetitia’s flirtatiousness, slyness, and indignation.
She also got to sing the opera’s single hit aria, “Steal Me, Sweet Thief.” It is one of the opera’s few spells of sincere emotion, and all of the character’s yearning poured out in Toomey’s rendition.” – John Y. Lawrence – Chicago Classical Review
“Lyric Opera’s Ryan Opera Center was well-represented. Sopranos Ann Toomey and Whitney Morrison, both heard last month on this stage in Gian Carlo Menotti’s “The Old Maid and the Thief,” lived up to expectations they had established. Toomey offered lovely lines in “Placido e il mar” from Mozart’s Idomeneo.” Howard Reich – Chicago Tribune
“However, the role of Musetta, the ex-girlfriend of the jealous painter Marcello (the strong baritone Zachary Nelson), soprano Danielle de Niese was replaced by Ann Toomey, a current member of Lyric’s Ryan Opera Center. And Toomey – it should be noted at the very start – won a well-deserved and enthusiastic ovation for her vivid portrayal of the lusty, tempestuous, but heart-of-gold free spirit. (De Niese has since returned to the role.)” – Hedy Weiss – WTTW
“Her facial expressions throughout the performance were over-the-top in the best possible way, and her comic timing was impeccable.
“One moment that had the audience in stitches was actually a well-played-out accident. A distraught Toomey was stuffing herself with ice cream when a large chunk fell out and onto the floor.
“Instead of leaving it, or stuffing it back in the container, she ravenously consumed it. Such a simple action left many in guffaws simply because of her ability to connect with the audience.” – Kailey Schneider, Contributor