Vocalists
Ashley Emerson
— Soprano
"The large cast is first-rate. It’s headed by soprano Ashley Emerson, perfectly cast in the title role. She’s an adorable Alice who whips off coloratura and cartwheels with equal aplomb and displays a fine sense of humor.”
—Sarah Bryan Miller, St. Louis Post-Dispatch
"...the evening belonged to Emerson, and the consistency of her musical energy, immaculate technique and physical grace made the role of Marie seem much easier than it is...(her sound) is concentrated and sweet, especially when soaring into its upper reaches. Emerson is a real professional, and her artistry includes plenty of panache for the extroverted numbers...as well as lovely line for more intimate moments."
—Opera News, Judith Malafronte
"As Marie, Ashley Emerson uses her lovely soprano to make creative use of Donizetti's melodies and have fun with the freedom they allow. She understands when to grab center stage with a finely crafted vocal run, but she knows to stay in character and context while pulling it off."
—Riverfront Times, Lew Prince
About
With her sparkling voice and stage presence, soprano Ashley Emerson has been described as a "vocal and dramatic delight." In the 2018-2019 season, Ms. Emerson performs the role of Laura Fleet in the North American premiere of Nico Muhly’s Marnie, sings Brigitte in Iolanta, and reprises the role of Papagena in The Magic Flute, among others.
Last season, Met performances included Giannetta in L’elisir d’amore, Papagena in Die Zauberflöte, Barbarina in Le nozze di Figaro, and a Flower Maiden in Parsifal. In the . . . 2016-2017 season, she was heard as Gretel in Hansel and Gretel with the Seattle Opera, sang Cunegonde in Candide with Opera National de Bordeaux and the Theatre du Capitole in Toulouse, and performed the role of Flora in Turn of the Screw with the Dallas Opera.
Ms. Emerson returned to the Metropolitan Opera in the 2015-2016 season for William Kentridge’s new production of Berg’s Lulu and for performances of Barbarina in Le nozze di Figaro. She also performed as Soeur Constance in Dialogues des Carmelites at Washington National Opera, Tebaldo in Don Carlo in a new production for Opera Philadelphia, and Blondchen in Die Entfu¨hrung aus dem Serail with Des Moines Metro Opera.
Notable recent North American engagements include her debut with Washington National Opera as Papagena, as well as two role debuts in the French repertoire; Olympia in Les Contes d’Hoffmann at Palm Beach Opera, and Sister Constance in Dialogues of the Carmelites at Opera Theatre of St. Louis. At the Met, which serves as her artistic home, Ms. Emerson sang in the highly anticipated productions of Die Frau ohne Schatten and the American premiere of Nico Muly’s Two Boys. Additional Met engagements included Papagena in Die Zauberflöte and the Bloody Child in Macbeth, as well as performances in Le comte Ory and the company’s new production of Le nozze di Figaro.
