Overture Magazine: 2017-2018 Season November-December 2017 | Page 25

MOZART’S REQUIEM
Alisa Jordheim
Lauded by the San
Francisco Chronicle
as “vocally resplen-
dent” and possessing
“impeccable colora-
tura,” soprano Alisa Jordheim joins
Palm Beach Opera as Cunegonde in
Candide, makes her Paris Opera debut
as First Knappe in Parsifal and returns
to Florentine Opera for both Venus in
Venus and Adonis and Belinda in Dido
and Aeneas in the 2017–2018 season.
Her concert performances include the
title role in Gisle Kverndokk, Aksel-Otto
Bull’s Letters from Ruth with the New
York Opera Society at the National
Gallery of Art, Yum Yum in The Mikado
with the Northwest Indiana Symphony,
“A Bernstein Banquet” with the
Southwestern Suburban Symphony
and a reprise of an all Rodgers &
Hammerstein concert with the New
Philharmonic. Last season, Jordheim
returned to the Florentine Opera to
create the role of Lola in Aldridge’s Sister
Carrie, a commercial recording of which
will be released on Naxos Records. She
also sang the role of Barbarina in The
Marriage of Figaro with the Milwaukee
Symphony Orchestra, Serpetta in La
finta giardiniera with On Site Opera
and Atlanta Opera, Yum Yum in The
Mikado with DuPage Opera, Brahms’
Ein deutsches Requiem with the Las
Vegas Philharmonic and Bach’s St. John
Passion with Madison Bach Musicians.
On the concert stage, she has sung
Torke’s Book of Proverbs at the Grant Park
Music Festival, Mahler’s Symphony No. 4
with the Madison Symphony Orchestra,
Handel’s Messiah with Madison
Bach Musicians and the Milwaukee
Symphony Orchestra, Bestienne in
Bastien und Bestienne (also with the
Milwaukee Symphony Orchestra), The
Rose in Portman’s The Little Prince
with Cincinnati Chamber Opera,
Mendelssohn’s A Midsummer Night’s
Dream with the Columbus Symphony
Orchestra and Greeley Philharmonic,
Orff’s Carmina Burana and Mozart’s
Exsultate, jubilate with the Fox Valley
Symphony and Bach’s Cantata No. 29
with the Dayton Philharmonic. She also
returned to Lawrence University as a guest
soloist for Brahms’ Ein deutsches Requiem.
COMING
OCTOBER 30
TO MOUNT VERNON
Alisa Jordheim makes her BSO debut.
Diana Moore
Learn how
we’re making
more space
for all
English mezzo-
soprano Diana Moore
is lauded on both sides
of the Atlantic for her
“emotional depth”
(The Guardian), “thrilling” technical
bravura (Gramophone) and “rich, evocative
sound” (San Francisco Chronicle). She
enjoys a varied and international career of
opera, oratorio and concert performances
and is a popular soloist at many major
music festivals.
Because of her graceful stature,
she is in demand for many trouser
roles, including the title character
in Rinaldo (Göttingen International
Handel Festival, Flanders Opera,
VlaamseOper, the National Theatre in
Prague and Opera de Versailles); Sesto
in Giulio Cesare (Göttingen); Armindo
in Partenope with the Early Opera
Company; and Medoro in Handel’s
Orlando, a role she had toured with
the Philharmonia Baroque Orchestra
and Nicholas McGegan to the Ravinia
Festival, Lincoln Center and the
Tanglewood Festival. Other operatic
roles include Penelope in Monteverdi’s Il
Ritorno d’Ulisse for the Aldeburgh Festival
and Dido in Dido and Aeneas for The
Early Opera Company.
Last season, Moore revived
Scarlatti’s La Gloria di Primavera
with Philharmonia Baroque Orchestra
and conductor Nicholas McGegan at
Tanglewood and Yale’s Norfolk Chamber
Music Festival. Moore is featured on
a recording of the work released on
the Orchestra’s label in 2016. Other
performances include the role of Medoro
in Handel’s Orlando with the English
Concert conducted by Harry Bicket, a
program of Bach with Israel Camerata
and Messiah with the Baltimore and
Indianapolis symphony orchestras.
Other recent engagements include
Elgar’s The Dream of Gerontius at Royal

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