Avery Amereau

“A rarity in music” and “an extraordinary American alto on the rise.”  NY Times

A native of Jupiter, Florida, Avery Amereau studied at Mannes College and The Juilliard School, where she was the proud recipient of a Kovner Fellowship and the Shoshana Foundation 2017 Richard F Gold Career Grant.

© Matilde Fassò


She made her Metropolitan Opera debut in 2016 as the Madrigal Singer in Puccini’s Manon Lescaut and has since sung at the Glyndebourne Festival (Dryad/Ariadne); Seattle Opera (Ursula/Beatrice et Benedict); Opera Columbus (Carmen) and at the Grand Théâtre de Genève (Cherubino/Nozze di Figaro). This season, Avery will sing Alcina/Bradamante, at Glyndebourne and in her house and role debut for the Hannover Staatsoper, as well as Irene/Bajazet for Portland Opera. On the concert platform Avery will open the season with the world premiere of ‘The Listeners’ by Caroline Shaw on a US concert tour with the Philharmonia Baroque Orchestra. Avery will also sing Messiah with Bernard Labadie and the National Arts Centre Orchestra, perform Mahler 2 at Salisbury Cathedral and record her debut solo album, also with the Philharmonia Baroque Orchestra.

Recent concerts include Dido and Aeneas at the Het Concertgebouw Amsterdam with Early Opera Company, Vivaldi arias with the Orchestra of St Luke’s in New York; Mozart’s Requiem with the Rhode Island Philharmonic and Bramwell Tovey; Bach’s St John Passion and Duruflé’s Requiem with the Voices of Ascension, New York; Berlioz Les Nuits D’été and Brahms Alto Rhapsody with the American Classical Orchestra, and concerts of Handel and Vivaldi with the Philharmonia Baroque Orchestra and Nicholas McGegan.  Exceptional in baroque repertoire, she has worked with William Christie, Helmuth Rilling and Maasaki Suzuki, and at the Bachfest Leipzig and the Boston Early Music Festival.

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    19 Aug 20 Handel Review: Avery Amereau: Handel Arias
    Philharmonia Baroque Productions

    “Her burnt umber tones – smoothly produced, never forced – are a pleasure in themselves. Beyond this, she brings to each of these Handel arias, mostly written for castrato, abundant musical intelligence and a specific sense of character.

    Galatea’s ‘Benché tuoni’ from the early serenata Aci, Galatea e Polifemo gets this chronologically arranged recital off to a rollicking start. Egged on by Nicholas McGegan’s ever-responsive band, Amereau defies the raging Polifemo in a terrific show of vocal bravado, biting into the Italian consonants and careering effortlessly above the stave in the da capo. Her care for words pays dividends, too, in Rinaldo’s showpiece ‘Venti, turbini’, voice vying in furious agility with solo violin and bassoon, and in a swaggering ‘Con tromba guerriera’ from Silla, where singer and trumpet spur each other on to ever more extravagant coloratura flights. Another highlight is Zenobia’s invocation to the furies from Radamisto, the tone darkly glittering, the spitting double consonants (‘abisso’, ‘tiranno’) duly relished.

    In grieving mode, Amereau spins an intense legato line in Ottone’s ‘Voi che udite’ from Agrippina – sung with musing inwardness – and Rinaldo’s ‘Cara sposa’, its webs of chromatic counterpoint beautifully realised by the Philharmonia’s strings. Subtly varying her vibrato, she can sometimes sound uncannily like a countertenor, as in Ceasar’s melancholy recitative ‘Dall’ondoso periglio’. Amereau then opens the following aria to the breezes with a perfect display of messa di voce – the finely controlled swelling and ebbing of tone essential to every self-respecting castrato’s armoury.

    Both Silla arias here are welcome Handelian rarities, as are three contrasting solos for the hero of the magic opera Amadigi. Amereau precisely catches the mood and sense of each: the amorous teasing of ‘È si dolce’, playful without coyness; the mingled longing and resolve of ‘O rendetemi il mio bene’; and the hushed intimacy of ‘Sussurrate, onde vezzose’, softly coloured by recorders. Amereau sets the seal on a more than promising debut recital with a true and tender performance of Ruggiero’s ‘Verdi prati’ (Alcina), subtly shading the vocal line and delicately ornamenting the refrain on repeats.”

    Richard Wigmore, The Gramophone

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    28 Apr 20 Review: Handel Arias Philharmonia Baroque Orchestra
    The Rehearsal Studio

    The result is that there is far more to Amereau’s talents than her technical command of each of the arias and the intimate chemistry through which she engages with accompaniment from PBO. There is also her appreciation of that diversity of personalities and her ability to endow each of them with those distinctive traits that make each character unique.

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    19 Dec 19 Handel Messiah
    National Arts Centre Orchestra Ottawa | Labadie

    ‘I have rarely seen as much excitement around a singer’s first Ottawa engagement as for alto Avery Amereau. The Florida redhead made her Metropolitan Opera debut in 2016 at 25, and has gone on to one glittering opera house and concert stage appearance after another, cultivating a special interest in Baroque music. The instrument is already impressive, exceptionally deep but glowing and clear, with the tantalizing promise of even more richness and power to come… Even in Handel’s most florid writing, she conveys calm dignity, poise, and admirable musical restraint.’

    Natasha Gauthier, ARTSFILE, 19 December 2019

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    17 Oct 19 A Cosmic Notion Tour Philharmonia Baroque Orchestra
    Herbst Theatre, San Francisco

    “Also notable [was the] velvety contralto Avery Amereau…’The Listeners’…gave way to the meltingly beautiful sound of Amereau.”
    James Ambroff-Tahan, San Francisco Examiner, 18 October 2019

    “The music covers just as much territory, beginning with a wordless, lovely melody sung by contralto Avery Amereau…”
    Michael Zwiebach, San Francisco Classical Voice, 22 October 2019


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    15 Dec 18 George Frideric Handel Rodelinda
    Opera de Lyon

    “Eine mit viel Stimmerotik aufwartende Mezzoentdeckung ist die junge Avery Amereau als Eduige.”
    “The young Avery Amereau as Eduige is a mezzo-discovery with singing full of vocal eroticism.”
    Barbara Rödelina,, 28 December 2018

    “Mehr als nur solide schlägt sich Avery Amereau in der Mezzorolle der Euidge.”
    “Avery Amereau is more than just ‘doing well’ in her mezzo role of Eudige.”
    Derek Weber, December 2018

    “Eine große Entdeckung war Avery Amereau mit ihrer schön timbrierten Alt-Stimme als Eduige.”
    “Avery Amereau has been a great discovery as Eduige, she has a beautiful timbral voice.”
    Jean-Pierre Maurin, Online Merker, 23 December 2018

    “Avery Amereau, mezzosoprano estadounidense, interpretó el rol de Eduige…. la cantante encarnó su personaje con mucha personalidad, con un timbre de voz muy rico en graves y una intención que bien reflejó el componente oscuro de su carácte.”
    “Avery Amereau is an American mezzosoprano and plays the role of Eduige….the singer incarnated her character with a lot of personality, her tone was very rich which reflected the dark component of her character well.”
    Sinfónica, February 2019

    “Eduige, soeur de Bertarido complice de Grimoaldo finalement repentante, est idéalement tenue par la mezzo-soprano Avery Amereau á la voix ample et brûlante.”
    “Eduige, Bertarido’s sister is sung perfectly by mezzo-soprano Avery Amereau with a full and glowing voice.”
    Serrou Bruno, La Croix, 22 December 2018

    “L’autre voix feminine en la personne d’ Avery Amereau, sublime incarnation d’Eduige.”
    “The other female voice is of Avery Amereau, who performs a sublime incarnation of Eduige.”
    Charlotte Saulneron, ResMusica, 18 December 2019

    “Le mezzo-soprano américaine possède une belle et narurelle presence scénique et vocale, une diction soignée et un timbre chaleureux aux graves particulièrement séduisants.”
    “The American mezzo-soprano has a beautiful and narrative stage and vocal presence, a neat diction and warm timbre, particularly impressive in the low notes.”
    Emmanuel Deroeux, Olyrix, 16 December 2019

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    05 Nov 18 Review: Dido & Aeneas Early Opera Company
    Opera Magazine

    Translated from Dutch:

    “In this work, mezzo-soprano Avery Amereau was the new star. She sang and played a convincing sorceress. Her evil intentions came to the spotlight especially in the deep regions of her voice.”

    Jacqueline van Rooij, Opera Magazine, 5 November 2018 

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    08 Oct 18 Review: Rodelinda Opera de Lille

    “…The young contralto Avery Amereau was Eduige; Bellorini transformed her into a femme fatale, which she portrayed with ease and spontaneity. Her voice is unusual and remarkable, with a true contralto quality. She is at ease in the low register, with good projection, and she has good high notes and agile coloratura. It will be interesting to see how her voice develops in the future.”


    Laura Servidei, Bachtrack, 8 October 2018

    ” Avery Amereau’s mezzo-soprano voice has a creamy middle and seductive lower register to give the character of Eduige the relief of a woman of character, struggling with both her demands and her feelings.”

    Translated from French

    Caroline Mounier-Vehier, Olyrix, 7 October 2018

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    25 Mar 18 Review: Alto Rhapsody American Classical Orchestra
    Alice Tully Hall

    “Blessed with an instrument of uniform timbre from its strong top to its rich lowest register, Amereau could do no wrong, holding listeners spellbound with long vocal lines and a freedom of nuance that responded to every inflection of Brahms’s unutterably sad and sweet music.”

    David Wright, New York Classical Review, 25 May 2018

    “Brahms’s strange, limpidly beautiful “Alto Rhapsody” calls for a vocalist with depth and clarity throughout her range. Amereau more than measured up. Her mosaic of clear and cloudy timbres enriched Brahms’s sweetly wandering melodies, fulling expressing the composer’s many dimensions of feeling and craft. Together with the orchestra she magnificently sustained the second section’s mysterious emotionality. In the final section the gorgeous redemptive strains of the men’s choir supported the cool tonal control she maintained high and low, and the hymn-like passages sounded fulsome and pure.”

    Jon Sobel, Blog Critics, 28 March 2018

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    14 Apr 17 Review: St. John Passion St. Paul’s Chapel, Trinity Church
    New York Times

    “Mr. Keene had a superb Jesus in the bass-baritone Kevin Deas, and a terrific alto soloist in Avery Amereau, the only female singer in the performances I heard to venture the low-lying aria “Es ist vollbracht” (“It is accomplished”), accompanied by viola da gamba. Ms. Amereau is herself something of a welcome throwback at a time when countertenors have all but displaced contraltos in early music.”

    James R Oestrich, New York Times, 14 April 2017


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    15 Nov 16 Review: Manon Lescaut Metropolitan Opera, New York
    New York Times

    “Even the minor role of a musician who recites madrigals written by Manon’s rich patron, sung by the captivating Avery Amereau, stood out for the unusually rich, saturated auburn timbre of her voice.”

    Corinna da Fonseca-Wollheim, New York Times, 15 November 2016

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    19 Feb 15 Review: The Rape of Lucretia Julliard Opera
    New York Times

    “With her sensual mezzo-soprano voice, Avery Amereau is achingly perfect as Lucretia”

    Anthony Tommasini, New York Times, 19 February 2015

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    15 May 15 Review: Carmen New York Opera Exchange
    Opera Today

    ” Avery Amereau (Carmen) has an effortlessly rich mezzo-soprano voice worthy of any professional stage in the industry, with the charisma to match.”

    Alexis Rodda, Opera Today, 15 May 2015 


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    Avery Amereau: Handel Arias

    Label: Philharmonia Baroque Productions

    Release Date: 24 Apr 20

    Nicholas McGegan, conductor
    Avery Amereau, contralto
    Philharmonia Baroque Orchestra