Acclaimed by The New York Times as “an outstanding actress, as well as a singer of extraordinary grace and finesse,” soprano Corinne Winters will enjoy a 2019/20 season of major role and house debuts amid return engagements at beloved companies. Following Corinne’s first Leïla in The Pearl Fishers at Santa Fe Opera, she makes a dual house and role debut as the title character in Moniuszko’s Halka at Theater an der Wien. She makes her much-anticipated role debut as Rusalka in a new Tatjana Gürbaca production of Dvorak’s masterpiece at English National Opera, where her career was launched onto the international stage, and concludes the run in her house debut at Les Théâtres de la Ville de Luxembourg.
Recent seasons have included major role debuts as the title character in Seattle Opera’s Katya Kabanova, Rachel in La Juive and Desdemona in Otello at Opera Vlaanderen, Tatyana in Eugene Onegin at Michigan Opera Theatre and Arizona Opera, Magda in La rondine at Opera Theatre of Saint Louis, and Liù in Turandot with the Orquesta Sinfónica Simón Bolívar de Venezuela under the baton of Gustavo Dudamel. Corinne has brought her Violetta, praised by The Guardian as “a wonderful combination of feistiness and fragility, sung with unflagging intensity,” to audiences around the world – at Royal Opera House Covent Garden, Theater Basel, Opera Australia, San Diego Opera, Seattle Opera, Wolf Trap Opera, Michigan Opera Theatre, English National Opera, Opera Lyra Ottawa, and Opera Hong Kong.Read more
Other recent appearances include Fiordiligi in Così fan tutte (Royal Opera, Orchestra dell’Accademia Nazionale di Santa Cecilia), Mélisande in Pelléas et Mélisande (Opernhaus Zürich, Opera Theatre of Saint Louis), Mimì in La bohème (English National Opera, Washington National Opera, Arizona Opera), Juliette in Roméo et Juliette (Arizona Opera), Alice Ford in Falstaff (City of Birmingham Symphony Orchestra), and Soong Ching-ling in the American premiere of Dr. Sun Yat-sen (Santa Fe Opera). Future engagements include a return to London and debuts in Geneva and Vienna.
On the concert stage, Corinne has appeared as soprano soloist in a European tour of Verdi’s Requiem led by Sir John Eliot Gardiner, Les nuits d’été with Borusan Istanbul Philharmonic Orchestra, and Bachianas Brasileiras with True Concord. She joined tenor Matthew Polenzani in recital for the George London Foundation, where she was praised by Opera News as “a striking brunette who manages to be simultaneously gamine and seductress, reveal[ing] an arresting, uniquely plum-colored soprano that could pass for mezzo in the middle but explodes with vibrant color on top.” She has also appeared in recital with the New York Festival of Song, Tucson Desert Song Festival, and Vocal Arts DC, showcasing Spanish song repertoire from her debut album, Canción amorosa.
An International Opera Awards nominee, Corinne has won prizes from the Mabel Dorn Reeder Foundation, Marcello Giordani Foundation (1st prize, Critics Choice Award, Vero Beach Prize), George London Foundation (George London/Leonie Rysanek Award), Sullivan Foundation (Career Grant), Licia Albanese Puccini Foundation (1st Prize), Palm Beach Opera Competition (1st Prize), Gerda Lissner Foundation (2nd Prize), and the Metropolitan Opera National Council Auditions (National Semifinalist, 1st place New England Region), and is a recipient of Wolf Trap Opera’s Shouse Career Grant.
Originally from Frederick, MD, Corinne earned a Master of Music degree in vocal performance from the Peabody Conservatory and Bachelor of Science degree magna cum laude from Towson University before appearing as a resident artist at the prestigious Academy of Vocal Arts in Philadelphia.
Corinne is proud to share her expertise as a mentor with Turn The Spotlight, a foundation working to identify, nurture, and empower leaders – and in turn, to illuminate the path to a more equitable future in the arts.
“Once in a great while, a singer just seems to have it all.”Scott Cantrell
“Winters was an exquisite Tatyana with a beautiful and ravishing tone. Quite superb was her ‘Letter Scene’ in which Tatyana pours out her heart to the man with whom she is passionately in love. This scene was surely one of the highlights of the performance.”
“Gardiner has an excellent ear for singers and he chose a great soloist quartet for this operatic mass for the dead. The soprano had a very flexible voice, flawless, with an interesting timbre, well placed piano and forte singing that carried over the wave of the orchestra. Winters is currently one of the most famous Traviatas on the operatic stage and it was easy to hear why. Her Verdian phrasing was stylish and she used beautiful Italianate ornamentation as well.”
“Corinne Winters gives a performance of genius, with a wonderfully supple voice…Her ‘Amami Alfredo’ was the most heart–rending since Renata Scotto.”
““Winters is the best ENO Violetta in decades, and worth the ticket price alone…”