Biography
Two-time Grammy Award-winning mezzo-soprano Sasha Cooke has been called a “luminous standout” (New York Times) and “equal parts poise, radiance and elegant directness” (Opera News). Ms. Cooke is sought after by the world’s leading orchestras, opera companies, and chamber music ensembles for her versatile repertoire and commitment to new music.
In the 2020-2021 season, Ms. Cooke sings a solo recital at Houston Grand Opera with pianist Kirill Kuzmin, performs Mahler’s Lieder eines fahrenden Gesellen with Vasily Petrenko and the Netherlands Radio Philharmonic Orchestra, and joins the Cincinnati May Festival for a performance of Copland’s Eight Poems of Emily Dickinson. She also makes her debut at Bard SummerScape as Genièvre in Chausson’s Le roi Arthus, sings Jan Arnold in a new recording of Joby Talbot’s Everest with Opera Parallèle, and returns to Dallas Opera for a Pops Concert alongside soprano Deanna Breiwick and baritone Lucas Meacham. Previously scheduled engagements include appearances at the Metropolitan Opera as Hansel in Hansel and Gretel, at Dallas Opera as Sylvie in the world premiere of Talbot’s The Diving Bell and the Butterfly, and at San Francisco Opera as Offred in Poul Ruder’s The Handmaid’s Tale. Concert performances were to include Bach’s Mass in B minor with the Orchestre National de France under the direction of Trevor Pinnock, Mahler’s Symphony No. 3 with the Minnesota Orchestra and music director Osmo Vänskä, and a duo recital tour alongside soprano Susanna Phillips.
During the 2019-20 season, Ms. Cooke returned to the San Francisco Opera to reprise the title role in Humperdinck’s Hansel and Gretel, and was scheduled to perform Laurene Jobs in Mason Bates’s The (R)evolution of Steve Jobs, a role she created in 2017 at Santa Fe Opera. Her orchestral appearances included Ravel’s Shéhérazade with the Radio Filharmonisch Orkest under conductor James Gaffigan, Mahler’s Das klagende Lied and Mendelssohn’s Die erste Walpurgisnacht with the Houston Symphony under music director Andrés Orozco-Estrada, Meditations on Rilke with the Cleveland Orchestra under composer and conductor Michael Tilson Thomas, and a concert version of Mascagni’s Cavalleria Rusticana with the Chicago Symphony under the baton of Riccardo Muti. Other scheduled appearances included reuniting with Jaap van Zweden and the New York Philharmonic for concerts of Mahler’s Symphony No. 2 Resurrection at David Geffen Hall (New York), Barbican Hall (London), and The Royal Concertgebouw (Amsterdam), as well as Mahler’s Symphony No. 3 with Myung-Whun Chung at the Accademia Nazionale di Santa Cecilia, Beethoven’s Missa Solemnis with the Pittsburgh Symphony under Manfred Honneck as well as the Atlanta Symphony under Robert Spano, both in Atlanta and on tour at Carnegie Hall in New York. Ms. Cooke also undertook a residency with the San Francisco Symphony that encompassed concerts with the orchestra, educational events, chamber music performances, and a solo recital in Davies Hall. In recital, she returned to London’s Wigmore Hall with pianist Malcolm Martineau for songs of Brahms and Schumann, and performed at New York’s 92nd Street Y and the Kennedy Center’s Terrace Theater in Washington, D.C., alongside pianist Julius Drake featuring Beethoven’s An die ferne Geliebte, Schumann’s Frauenliebe und –leben and Zwölf Gedichte nach Justinus Kerner. Finally, Ms. Cooke sang the world premiere of Jake Heggie/Gene Scheer’s Violins of Hope with violinist Daniel Hope for Music at Kohl Mansion in California, and was scheduled to perform a solo recital of songs by Fauré, Debussy, Berlioz, Schumann, and Beethoven, at the Santa Fe Chamber Music Festival.
Read moreRecent News
Norman Garrett, Sasha Cooke, and Matthew White Star in Bard SummerScape’s Le roi Arthus
Baritone Norman Garrett, mezzo-soprano Sasha Cooke and tenor Matthew White star in Ernest Chausson’s rarely performed opera Le roi Arthus at Bard SummerScape. The new production, directed by Louisa Proske, premieres on July 25 and runs through August 1. Garrett takes...
Congratulations to our GRAMMY® Award Winners: Soweto Gospel Choir, Sasha Cooke and Garrett Sorenson
IMG Artists extends a huge congratulations to our winners at the 61st annual GRAMMY® Award ceremony last night. Soweto Gospel Choir won their third GRAMMY® Award in the Best World Music Album category for Freedom, whilst vocalists Sasha Cooke (mezzo-soprano) and...
Sasha Cooke Impresses as Marnie in Nico Muhly’s New Opera with The ENO
Nico Muhly’s new opera Marnie, with Grammy award-winning mezzo-soprano Sasha Cooke starring in the title role, had its world premiere at the London Coliseum on 18th November, warmly and diligently conducted by Martyn Brabbins on his debut as ENO music director. The...
Reviews
“Sasha Cooke’s mezzo-soprano was exquisitely rounded and ensured that Goffredo’s arias were delivered with a certain sumptuousness and complete sense of ease.”
Rinaldo, The English Concert, March 2018
“Mezzo-soprano, Sasha Cooke’s voice was luxurious, full-bodied and round, so powerful that at times when the electro-acoustic orchestra was at a fortissimo level, she could still be heard over the group. She sensitively portrayed Laurene, Jobs’ gentle, comforting influence.”
The (R)evolution of Steve Jobs, Santa Fe Opera, July 2017
“The splendid mezzo-soprano Sasha Cooke brought dark colorings and penetrating richness to her solos.”
“The best thing about this performance [by the San Francisco Symphony at the Royal Festival Hall in London] was Sasha Cooke, the American mezzo whose resonant tone and intelligent projection raised the fourth movement [of Mahler’s Third Symphony] to a different level.”
More Reviews
“The splendid mezzo-soprano Sasha Cooke brought dark colorings and penetrating richness to her solos. “
“The best thing about this performance [by the San Francisco Symphony at the Royal Festival Hall in London] was Sasha Cooke, the American mezzo whose resonant tone and intelligent projection raised the fourth movement [of Mahler’s Third Symphony] to a different level.”
“In the splendid aria “Parto, parto”… Sasha Cooke’s timbre seems to have taken on an added richness since I last heard her. The singer’s expressive qualities were, as ever, to the fore, and the power and beauty of her interpretation made me long to hear her at The Met again where lesser artists hold forth in roles that would suit Ms. Cooke to perfection. Be that as it may, her singing of the aria tonight, graced by Mr. Shifrin’s polished roulades, was a thoroughly engrossing musico-dramatic experience.”
“Such combinations as the women in “Recordare, Jesu pie” and the three lower voices in “Lux aeterna luceat eis” brimmed with vitality and unanimity of expression. Cooke deserves special mention. In a world in which “mezzo-soprano” is the more marketable category, she is a true contralto…It’s a certain tone quality, a penetrating timbre, that not only lends gravity to the frequent solos Verdi gives to the lower female voice, but also seems essential to make clearer the four solo lines in the “Offertorio” section. Cooke had the essential sound and the skill to shape it to the music’s meaning”
“The best news in “Mary Magdalene” was Cooke’s majestic performance. In her company debut, the American mezzo made a brilliant impression, her characterization composed of equal parts poise, radiance and elegant directness. Her honey-colored voice was deployed luxuriantly; Cooke sang with complete conviction, sounding unforced and lustrous throughout a long evening. “
“Mezzo-soprano Sasha Cooke added extra gleam to Friday’s Aspen Chamber Orchestra program under conductor Tomas Netopil. In Mahler’s Symphony No. 4, known as the composer’s most relaxed and approachable, Cooke offered a delightfully animated take on “The Heavenly Life” song finale. “
“Between Britten and Mendelssohn…were five of the “Mörike-Lieder” of Hugo Wolf, wonderfully sung by the mesmerizing mezzo Sasha Cooke with subtle dramatic flair and an exquisite balance of vocal richness and focus…Cooke seemed carried aloft by them.”
“In the short fourth movement, the creamily exquisite mezzo-soprano Sasha Cooke sings of mortal anguish and heaven’s calling.”
“Ms. Cooke brings winsome beauty and a rich, creamy voice to the role.”
“With her soaring and warm voice, crystalline diction and regal yet endearing presence, Sasha Cooke as Mary is the glory of the production”
“If Adamo wanted to create believers in the Magdalene, he could not have done better than write the role for the extraordinary mezzo-soprano Sasha Cooke, who on Wednesday night made a triumphant company debut in the title role…In a performance of dazzling vocal majesty and theatrical clarity, Cooke charted Mary’s transformation from an unsettled seeker…to the self-contained teacher of a new gospel. Her singing was throaty, eloquent, and shimmeringly rich; the saintly nimbus that Renaissance painters suggested using gold paint attaches naturally to Cooke’s voice.”
“Mezzo-soprano Sasha Cooke’s Mary is a modern feminine ideal, opulently sensuous, insistently sensible, deeply feeling and demandingly honest.”
“Flanking Tilson Thomas were four soloists, all excellent — though a special “hosanna” must go out to mezzo-soprano Sasha Cooke, whose singing of “miserere nobis” (“have mercy upon us”) in the “Agnus Dei” was like an expanding column of pure concentrated sound. It was soulfully unnerving, shaking your inners, bringing to mind the likes of Callas and Coltrane. Wow.”
“Sasha Cooke’s radiant soprano is perfect for Sonia”
“Sonia is played with a cunning twist by Sasha Cooke…she conveys this simply and effectively in the way she sings the score in her melodious mezzo-soprano voice. “
“Ms. Cooke’s performances in this program of love songs inspired by poetry were the highlight of the evening […her] distinctive smoky timbre blended beautifully with the mellow tones of the viola; her phrasing and control were notable […] She also wielded her expressive voice to fine effect in the alto solo in Schumann’s “Spanische Liebeslieder” for four voices and piano, four hands […] The six musicians joined forces for the concluding work, Brahms’s “Liebeslieder Waltzer” for four voices and piano, four hands, with Ms. Cooke again the luminous standout in her solo”
“In Der Einsame im Herbst her ravishing expression of the text’s world-weary protagonist sailed over the orchestra. And in the finale, Der Abschied — “Farewell” — her assured singing revealed a stunning expressive range, especially in her sinewy duets with the orchestra’s principal flutist and in her floating repetitions of the word ewig — “forever”
“Cooke’s attractive, erotic stage presence struck plenty of sparks in “Doctor Atomic”, but without question she also delivers the vocal goods. She possesses a firm, fruity mezzo, straight-toned in quality, which allows the listener to luxuriate in her unerring sense of pitch. And she has a strong yet subtle interpretive ability, one that draws the listener in. She doesn’t play to the balconies; she makes “you” come to “her”, as did the much-lamented Lorraine Hunt Lieberson[…]Cooke’s performance is an exercise in simplicity”
“Sasha Cooke brings a rich, beautifully supported soprano to Magnolia, persuasively charting her growth from starry-eyed innocent to life-toughened survivor, with the right soignée polish in her late-in-the-action Ziegfeld turn “Nobody Else But Me”
“Sasha Cooke’s Magnolia “Nolie” Hawks is sweet and loveable from beginning to end. Her arc from naïve and protected teenager to self-realized Broadway starlet is entirely believable and a joy to watch. Sasha Cooke’s soprano instrument is breathtakingly beautiful, lending a decidedly and much appreciated operatic tonality to her performance. She shines magnificently on “You Are Love” and “Nobody Else But Me.”
“With its setting of the “Lamentations of Jeremiah,” the music speaks to a crisis of faith; the portentous weight of the strings underscored the angst. Mezzo-soprano Sasha Cooke’s powerfully intense singing of the vocal finale deepened the mournful impression “
“It turns out, manifestly Sasha Cooke can do just about everything: simple folksongs, easily and authoritatively rendered musical theater numbers by Gershwin and Weill, as well as comic parody songs interspersed with opera scenes. She has no peer at deftly capturing the faraway sultry mood of “Summertime.” She has remarkable, charismatic stage presence about her. With ease and showmanship, she wraps the audience around her little finger. Vocally faultless, she puts her heart and soul in it. Her appearance brought a heretofore neglected aspect to the Berlin Music Festival: the entertainingness of American music.”
“The young singer, Sasha Cooke, enchanted the audience not only with her capacious voice, with naturalness in phrasing, with innate charm, as well as stage presence. She did not merely perform entertaining numbers. When the song called for it, Sasha Cooke recited, screaming downright shrilly at one point (in the first phrase of Leonard Bernstein’s “What a Movie!”) A gifted character actress, she gesticulated, moved in time to the music, even danced. All, however, within the bounds of good taste, stylistically fully realized on the spot. The shouts of “Bravo!” of the inspired audience accordingly validated the singer.”
“She took immediate possession of the hall with three of Aaron Copland’s “American Songs,” with her pleasing, tone color endowed voice, an empathic interpreter spinning gripping stories from the little songs. After the Caberet Songs by William Bolcom—for which Sasha Cooke found precisely the right naughty, off-Broadway tone—she was lionized. For each of the numbers that followed, by Barber, Gershwin, Weill and Bernstein, there was a long round of applause, because she has charm, terrific natural stage presence—and that swing, so seldom found in classically trained singers.”
“A still very young singer from California took the stage. She made her entrance in her blue taffeta gown, with such self-assurance as if she had been born a diva […]This mezzo soprano has the blues in her voice, she has that swing in every fiber of her body. Her voice is wonderfully clear, with a timbre of liquid gold. She rocked the Philharmonie right from the first note of the Shaker song, “Simple Gifts,” she moved the audience so that the out-of-office politicians awoke, and the B-list celebrities felt like A-listers. All applauded like crazy, right after every selection. They didn’t want to let her leave. Her name is Sasha Cooke, a name to take note of”
“Cooke performed with a pure and lovely tone that contrasted beautifully with the orchestra’s darker timbres. In addition to its lyric beauty and flexibility, Cooke’s voice packed a punch with its ability to reach the back rows of the Lyric. …. She has a lovely and expressive voice, surprisingly bright for a mezzo.”
“The other disarmingly beautiful stretch of time came in the fourth movement with mezzo-soprano Sasha Cooke’s poised, expansive song ‘Urlicht’ (‘Primeval Light’)… Cooke was mesmerizing, demonstrating that she has become a graceful singer with a rich, deep mezzo voice since her time here as a student.”
“In the more intimate scenes alternating with all this male-dominated bomb-creating, the increasingly highly regarded mezzo Sasha Cooke is outstanding as Kitty Oppenheimer, realizing the part with perfect diction and a surprising degree of empathy.”
“Sasha Cooke brings Kitty to life. We ache for her in her loneliness and frustration. Her rendition of the aria ‘Am I in your light?’ is poignantly moving.”
“In both selections Cooke sang [Bach cantatas with the L.A. Chamber Orchestra] with fresh, vibrant, well-focused tone and sensitivity to the dramatic nuances of the text.”
“Sasha Cooke is a big favorite of mine, and obviously of MTT as well. I can’t get enough of that rich mezzo sound with the bright soprano edge.”
“Mezzo soprano Sasha Cooke, who burst upon the operatic scene with her brilliant performance as Kitty Oppenheimer in the Metropolitan Opera’s premiere of John Adam’s Doctor Atomic, is a star in the making. She sings Britten’s charming ‘A Charm of Lullabies’ with a perplexing bitter-sweetness that lies at the root of these songs. … Sasha Cooke performs Henry T. Burleigh’s arrangements of American spirituals (‘Songs’) with affecting vulnerability and verve. In Barber’s Four Songs, Op. 13, she demonstrates the range and strength of her voice in these gems by one of America’s great vocal composers. ‘Sure on This Shining Night’ is especially memorable.”
“Most impressive, however, [in Mozart’s ‘Davidde penitente’ at the Mostly Mozart Festival] was Sasha Cooke, a mezzo-soprano who rose to the lofty exploits of the second soprano with dynamic, expressive and technical brilliance.”
“[Cooke] is the next big thing in mezzos, singing with cut-glass precision and luminous depth — and here bringing a world of ultimate sorrow and longing to these Spanish songs. A genuine stage presence and actor, she embraced the false surface jubilation of ‘Cancion,’ a song about treachery in love, while pushing the underbelly of heartbreak up toward the surface. With its multiple levels, it’s a gorgeous trickster song, like Stephen Sondheim’s ‘Every Day a Little Death,’ and Cooke (who also sings Sondheim) knows just how to handle it.”
“[Britten’s] verse settings found an ideal interpreter in Sasha Cooke, who, with Barnatan’s able support, made a smashing festival debut. The young American mezzo-soprano revels in a rich, tawny tone and honours verbal as much as musical values. The concert world seems hers to command.”
“The delight here was the lustrous and evocative singing of mezzo-soprano Sasha Cooke, who brought buoyant immediacy to the opening ‘Villanelle’ and an aching intensity to the lament ‘Sur les lagunes’ [in Berlioz’s ‘Les nuits d’été with Michael Tilson Thomas and the San Francisco Symphony].”
“Cooke demonstrated a voice that combines the finest qualities of a lighter tone with a deeper range. The first song, ‘Anzolea avanti la regata’ (‘Anzoleta before the race’), was beautifully phrased with impressive musicality… Yes, Momolo won the race, and the mezzo rewarded him with extraordinarily clear and beautiful high notes in the final song”
“The evening opened with Leonard Bernstein’s Symphony No. 1, ‘Jeremiah,’ featuring mezzo-soprano Sasha Cooke, who gave a sensitively sung performance that captured the aching character of the piece’s Hebrew text and mixed tender moments with controlled power.”
“Its [Respighi’s ‘Il Tramonto’] dazzling performance by the Miró Quartet and mezzo-soprano Sasha Cooke opened the concert with a startling revelation….Cooke’s powerful voice displays the bright edge of a dramatic soprano, yet tempered with the clarity and warmth of a mezzo. A young singer, she made an impressive Met debut last fall as Kitty Oppenheimer in John Adams’s ‘Doctor Atomic,’ and her voice commanded the modest confines of Sherwood Auditorium. She opened with apparent ease the emotional floodgates the poet scattered across his so-happy-to-be-sad topography.”
“The mezzo-soprano Sasha Cooke, partly of Russian lineage, brought her idiomatic diction to selections by Tchaikovsky and Sergei Taneyev. […] Elgar’s ‘Sea Pictures’ offered a potent demonstration of Ms. Cooke’s rich, supple sound and passionate delivery.”
““…Elgar’s ‘Sea Pictures,’ which mezzo Sasha Cooke sang as ravishingly as I have ever heard them sung.”
“The fine mezzo Sasha Cooke, who recently offered a vivid portrayal of Kitty Oppenheimer in John Adams’s ‘Doctor Atomic’ at the Metropolitan Opera, sang ‘Les Nuits d’été’ with an expressive, amber-hued voice. In ‘Sur les Lagunes’ tears ran down Ms. Cooke’s cheeks as she mourned a lost love.”
“The mezzo-soprano Sasha Cooke—as Oppenheimer’s alcoholic wife, Kitty [in ‘Doctor Atomic’ at English National Opera]—possessed a fine lyrical voice and in an intimate scene in which she longed for her husband, she found once again that work observed all his time and energy. A member of the Metropolitan Opera’s Young Artist Development Program, Cooke’s a singer destined for a brilliant career!”
“Of the soloists [in Handel’s ‘Messiah’ at Carnegie Hall], the mezzo-soprano Sasha Cooke was the most consistently pleasing. Her burnished tone and carefully shaped lines invariably went directly to the heart of an aria, and although all the singers ornamented the repeats inventively, Ms. Cooke’s embellishments were expressive rather than merely showy.”
“New to ‘Atomic’ is the gifted young mezzo-soprano Sasha Cooke, as Kitty Oppenheimer. Perhaps because she had no nostalgia for the old production, she was able to create a fresh, vital portrayal, bringing a luminous tone, a generously supported musical line, a keen sense of verbal nuance, and a flair for seduction. Even if the Oppenheimers’ bedroom came out looking oddly like a suite in an Ian Schrager hotel, their duet emerged as the most psychologically cogent scene of the night—a billowing of sensual delirium into white-knuckle reality.”
“Sasha Cooke sings with seductive fury.”
“Leading [mezzo-]soprano Sasha Cooke appeared to have a major success.”
“The scenes with Oppenheimer’s wife, Kitty, sung with aching, wistful intensity by the mezzo-soprano Sasha Cooke, are beautifully rendered.”
“Ms. Cooke did well everywhere. She has a strong, healthy voice, and she is a good enough musician to handle Schumann’s ornamental turns of phrase with ease and clarity… the chance to hear this music rendered so correctly was cause for gratitude.”
Contact
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