Avery Amereau

Mezzo-Soprano

Biography

Avery Amereau has garnered much attention for the unique quality of her timbre and sensitive interpretation. The New York Times proclaims she is “a rarity in music” and “an extraordinary American alto on the rise.”

Highlights of the 2017-18 season include company and role debuts as Cherubino in Mozart’s Le Nozze di Figaro with the Grand Théâtre de Genève and Ursule in Berlioz’s Béatrice et Bénédict with the Seattle Opera, a debut with the Salzburger Festspiele, and a return to the Metropolitan Opera as Kate Pinkerton in Anthony Minghella’s beloved production of Puccini’s Madama Butterly. On the concert stage, Ms. Amereau debuts with the Philharmonia Baroque Orchestra under Nicholas McGegan in a concert of new music and returns later in the season for Beethoven’s Mass in C Major and Choral Fantasy.  She will debut with the Orchestra of St. Luke’s in a program of Vivaldi arias, and will rejoins the American Classical Orchestra for the Brahms Alto Rhapsody. She makes duo appearances with the Santa Fe Pro Musica for a series of Christmas and Easter concerts, and in December performs Handel’s Messiah with the Phoenix Symphony, Nashville Symphony and University Musical Society of the University of Michigan in Ann Arbor.

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Reviews

“With her sensual mezzo-soprano voice, Avery Amereau is achingly perfect as Lucretia.”

Anthony Tomassini

The New York Times

“Avery Amereau’s innate delicacy of manner embodied Lucretia’s vaunted chastity, and rendered the character’s defilement all the more gut-wrenching. Her smoky, contralto-like sound gave weight to Lucretia’s utterances —the voice was tinged with tragic forebodings from the start.”

Fred Cohn

Opera News

More Reviews

“Avery Amereau (Carmen) has an effortlessly rich mezzo-soprano voice worthy of any professional stage in the industry, with the charisma to match. ”

Opera Today, Alexis Rodda

“Drawing the drama from someplace deep within herself, the lowest notes a rich, enveloping curtain of clarity and undulating vibrato. Her sotto voce da capo was a moment of easy musical magic.”

Boston Musical Intelliger, Jacob Street