Ellie Dehn



American soprano Ellie Dehn has been praised by critics as “a revelation” (Chicago Sun-Times), acclaimed for her “great stage presence and a voice combining metallic clarity and sensual richness” (Wall Street Journal).

In the 2017-2018 season, Ms. Dehn makes her role debut as the title role in Massenet’s Manon at the San Francisco Opera opposite tenor Michael Fabiano, and returns to the Grand Théâtre de Genève as the Countess in Figaro Gets a Divorce; a modern addition to the Figaro trilogy composed by Elena Langer.  Concert appearances include Handel’s Messiah at Saint Thomas Church in New York City, the New Jersey Symphony Orchestra, and with the Florida Orchestra, as well as Beethoven’s Ninth Symphony with the Ft. Wayne Philharmonic.

Ms. Dehn’s 2016-2017 season included her company debut at the Teatro di San Carlo as Musetta in La Bohème, and her return to San Francisco Opera in the same role under the baton of Maestro Carlo Montanaro. She also returned to San Diego Opera for her role debut as Alice Ford in Verdi’s Falstaff conducted by Daniele Callegari. Ms. Dehn returned to the roster of the Metropolitan Opera and joined the Orchestra of St. Luke’s for Hadyn’s Creation as part of the St. Thomas music series.

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“The star of the show was Ellie Dehn… a charismatic soprano with great stage presence and a voice combining metallic clarity and sensual richness.”

Heidi Waleson

The Wall Street Journal

“Ellie Dehn possesses a beautiful, bronzed and rich soprano.”

Corinna da Fonseca-Wollheim

New York Times

More Reviews

“Ellie Dehn’s was the standout performance as the Countess, her soprano warm and liquid, with real emotion… Her final duet, “Goodnight dear children”, with the horns luscious in the background, brought the production to a gentle and lovely close.”

Elodie Olson-Coons, Bachtrack

“The title role has been the property of Wagnerian sopranos on recordings, with Maria Reining and Jessye Norman notable interpreters. Yet Euryanthe was created by soprano Henriette Sontag (1806–54), who sang the premieres of Beethoven’s Ninth Symphony and Missa Solemnis in 1824. Obviously Sontag had flexibility and easy, blooming top notes; so did Bard’s Ellie Dehn, a real boon in Weber’s many quick scale-work passages. The basic purity of Dehn’s Mozart-honed sound and her very sympathetic stage persona also proved assets.”

David Shengold, Opera News

“Among its many assets, Bard’s production boasts two first class voices—tenor William Burden as the virtuous knight, Adolar, and soprano Ellie Dehn, as his much-maligned lover, Euryanthe. Dehn, in particular, has a gorgeous melting quality to her voice, and used her considerable acting skills to create an appealingly vulnerable Euryanthe.”

Laura Genero, The American Spectator

“Ellie Dehn was the lovely, corseted Euryanthe. She has a luscious, silky voice and a pleasing stage presence.”

Charles Jernigan, Opera Pronto

“There’s no better place than with Ellie Dehn’s transportingly beautiful performance as the Countess Almaviva… Dehn imbues the Countess with such purity of voice and eloquence of spirit that her dilemma pierces the heart. In every appearance, especially in her two key arias, Dehn entrances with her elegant legato and ability to express the most intense emotion with grace and composure.”

Everett Evans, The Houston Chronicle

“Also making an impressive SFO debut was Ellie Dehn as the Countess. The slender soprano has the right regal bearing for the philandering Almaviva’s long-suffering spouse, yet she also entered into the comedy surely as well. Possessed of a lovely radiant soprano Dehn’s two arias were highlights of the evening her spacious hushed Dove sono reducing the vast house to complete silence.”

Lawrence A. Johnson, The Classical Review

“As the long-suffering Countess, soprano Ellie Dehn brings regal reserve, authority, and a velvety voice to break our hearts (There wasn’t a noise to be heard during her ravishing aria “Dove sono,” her simple plea to return to times past when her husband still loved her.)”

D.L. Groover, Houston Press

“Vocally, the evening is excellent… Special mention for Musetta, spinning and perfectly sung is the young American Ellie Dehn.”

Jean-Marc Proust, OPÉRA Magazine

“In her first in-house lead, Ellie Dehn had a wonderful evening as a clearly articulated, clean-voiced Musetta, adorable but not outlandish. Can we hear this fine Mozartean singing her specialty?”

David Shengold, Gay City News

“In the role of the wronged and vengeance-seeking “Donna Anna”, soprano Ellie Dehn is a lovely presence and is vocally pleasing throughout each of her two arias. Although not as formidable as the male leads, including her suitor – “Don Ottavio” (Shawn Mathey) – Dehn is nevertheless the attractive leading lady worth waiting for.”

Sean Martinfield, San Francisco Sentinel

“American soprano Ellie Dehn’s Donna Anna was a revelation. Her horror at her father’s murder was palpable, and her satiny soprano unleashed a torrent of desperation and passion as she veered between mourning and a thirst for vengeance.”

Wynne Delacoma, The Chicago Sun-Times

“With a ravishing lyric soprano of clear international Mozartean potential, Ellie Dehn sang one of the great Elviras of my experience, fearlessly limning a sensual, funny, desperate woman worthy of Almodóvar.”

David Shengold, Gay City News

“As the jilted (and possibly crazy) Elvira, Ellie Dehn delivered rapturous tones and vocal charisma – a gorgeous talent starting to bloom.”

Pierre Ruhe, The Atlanta Journal-Constitution

“Among the ladies, Ellie Dehn’s Donna Elvira was technically and musically the outstanding role. In this production she had the advantage of her big aria (“Mi Tradi”) coming just after the intermission: it brought down the house.”

William Gudger, Post and Courier

“Ellie Dehn excelled as Cressida, a role written for Elisabeth Schwarzkopf (who recorded excerpts but declined to sing it on stage). Strong in the love music and in her impassioned reaction to Troilus’s apparent failure to write, Dehn deepened the character with telling introspective singing.”

George Loomis, Financial Times

“It’s hard to imagine the role of Cressida more gorgeously sung than by Ellie Dehn, who strings out her lines, and soars on high, with warmth and elegance.”

Scott Cantrell, Dallas Morning News

“Two debuts at San Diego Opera’s “La Bohème” on Saturday night: one expected, one unexpected — both impressive… She stepped onto the San Diego Civic Center stage on opening night and sang Puccini’s fragile heroine for the first time with an expansive, clear tone and simple, straightforward characterization.”

James C. Taylor, Los Angeles Times

“Great singing on the part of its leads is necessary to make a strong case for it. And in Ellie Dehn and James Valenti, Minnesota Opera struck gold… Dehn’s Juliet had the coloratura for a dazzling “Waltz Song” and a voice large enough to encompass the demands of the potion aria. ”

William Randall Beard, Minneapolis St. Paul Magazine

““Dehn, an Anoka native, is plainly verging on a major career. She is equally sovereign in the brittle waltz aria of Act 1 (“Je veux vivre”) and in the more dramatically cogent potion aria of Act 4 (which, though traditionally cut, is perhaps Juliette’s finest moment). In the death scene, her singing takes on an ethereal beauty.” ”

Larry Fuchsberg, Star Tribune

“Since a career on the operatic stage seems in the cards, let’s look at what this particular recital revealed about her chances for success…Confidence and professionalism. Ellie Dehn has got it. No hesitation, no self-effacement, no false modesty. She sings out with great verve and gusto. There is a star waiting to burst out here.”

Fred Kirshnit, The New York Sun

“…the soprano of Ms. Dehn, a 2007 George London award winner, sounded in radiant bloom. She ably wielded her appealingly warm, agile voice in a passionate rendition of “Amour, ranime mon courage” from Gounod’s “Roméo and Juliette. ”

Vivien Schweitzer, The New York Times

“Ellie Dehn’s Fiordiligi was a mesmerizing combination of vocal and theatrical know-how.”

David Patrick Stearns, The Philadelphia Inquirer

“As Fiordiligi, soprano Ellie Dehn gave her finest performance since her SFO debut in 2010. The extreme smoothness of her beautiful voice, which betrayed no hard edge, seemed ideal for such a pastel production, and her tall, graceful bearing and extraordinary neck were a joy to gaze upon.”

Jason Victor Serinus, San Francisco Classical Voice

“The evening’s pleasures lay in the remaining trio: Ellie Dehn’s sincere Fiordiligi, showing beautiful sound and musicianship throughout.”

David Shengold, Gay City News

“Typical of Queler and the overall appeal of the opera in concert, an always cut aria for Tell’s son, Jemmy was given a spectacular performance by young American soprano Ellie Dehn, whom OONY introduced to New York. Her coloratura and vocal poise stopped the show.”

John Ostendorf, Bulletin of the NY Singing Teachers Association

“The best moment of the evening, however, came from the Antonia of Ellie Dehn: vocally flawless, completely in tune and capable of phrasing pain and full of sadness. The character is revealed in all its fragility, even through tense moments during the difficult trio, where the frenzied ascent to high D flat signified a moment of musical emotion.”

Andrea Dellabianca, GB Opera

“Heading the production’s excellent cast was soprano Ellie Dehn, who lit up the main character, Violetta Valéry, with her sparkling stage presence, affecting acting and charismatic brio. With a radiant, dazzlingly agile voice that could hardly be better suited to this music, she handled every facet of the role with confidence and aplomb, from its most challenging coloratura to its most tender moments. In short, this was a star-worthy performance in every way.”

Kyle MacMillan, Opera News