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Deborah Voigt’s winter, spring, and summer 2010

Deborah Voigt, one of the great American voices, continues her stellar international season, showing her range from Wagner and Strauss to Puccini and Bernstein.  The soprano is currently singing her first Isolde in Barcelona, with the Gran Teatre del Liceu production of Wagner’s Tristan und Isolde running until February 20.  It was her inimitable way with this iconic, ultra-demanding role that led to a 20-minute ovation at the Vienna State Opera, an event reported on CNN, and to acclaimed performances of it at New York’s Metropolitan Opera and Chicago’s Lyric Opera.  A week after her Isolde in Spain, Voigt makes her Zurich Opera debut, singing the title role of Richard Strauss’s Ariadne auf Naxos (Feb 27) – an especially promising prospect if, as the New York Times claims, “Almost any Strauss role the voice of Deborah Voigt touches turns to gold!”  Illustrating another side of her art, she will perform a recital in Zurich on March 15, singing material by Verdi, Strauss, and Respighi, as well as American songs by Leonard Bernstein, Amy Beach, and Ben Moore.

Voigt returns to her home stage of New York’s Metropolitan Opera on April 23 to make her house debut in a psychologically and vocally intense role: Senta in Wagner’s Der fliegende Holländer (The Flying Dutchman).  Voigt sang Senta with the Met company on the road in Germany and is featured on the 1994 Sony Classical studio recording of the full opera led by James Levine (with James Morris as the Dutchman and Ben Heppner as Erik).  Discussing Voigt’s performance of the role in 2005, Boston Globe critic Richard Dyer enthused: “The voice was huge, bright, and refulgent, especially at the top, and Voigt’s technique extraordinary… . The full, visceral impact of her tone when she unfurls a high B-natural and sends it spinning to the back wall is a privilege of live performance.”

It was in the San Francisco Opera’s Merola Young Artists Program that Voigt learned the ropes of the operatic profession, and the soprano returns to the San Francisco Opera in June.  To help the company celebrate the centennial of Puccini’s Wild West opera, La fanciulla del West (Girl of the Golden West), Voigt will make her debut in the role of Puccini’s titular heroine, Minnie.  For the rest of the summer, she turns her attention to Strauss.  Since her first staged performances of Salome at Lyric Opera of Chicago in 2006, Voigt has become an exemplar of the title role.  She sings it twice this summer, first in July under Valery Gergiev, in her debut at Switzerland’s Verbier Festival, and then in Japan’s Saito Kinen Festival in August.

Deborah Voigt’s 2009-10 season has seen her go from strength to strength on both sides of the Atlantic.  She opened Lyric Opera of Chicago’s season as Puccini’s Tosca under Andrew Davis and sang in a concert broadcast of Schoenberg’s Gürrelieder with the Bavarian Radio Symphony Orchestra and Mariss Jansons.  Voigt has given more than 160 performances in more than a dozen roles besides concerts, galas, and surprise appearances at New York’s Metropolitan Opera since 1991, and earlier this season, she sang her signature role of Chrysothemis in the Met’s December run of Strauss’s Elektra.  The soprano made special appearances at WNYC’s annual fund-raising gala, a gala concert for the Dallas Opera’s new home of Winspear Opera House, and the fifth annual Opera News Awards.  She also reprised her role as host of the Met’s “Live in HD” broadcasts, lending her engaging personality to the international transmission of Offenbach’s Contes d’Hoffmann (Tales of Hoffmann).  It has been the kind of season that inspired the Wall Street Journal to write: “Voigt is riding high in the opera house and on the recital stage.  Not only has her majestic voice made her fans love her, but so has the soprano’s profound feeling for texts and subtleties of musical style, not to mention her genuine sense of humor.”

Since her breakthrough appearance in Ariadne auf Naxos at Boston’s Lyric Opera in 1991, Deborah Voigt has appeared on the world’s greatest stages, from New York’s Metropolitan Opera, Chicago’s Lyric Opera, and the San Francisco Opera to London’s Royal Opera House, Milan’s La Scala, Vienna State Opera, Berlin Deutsche Oper, and Opera Bastille in Paris.  The soprano has featured in complete recordings of Tristan und Isolde (Deutsche Grammophon) and Der fliegende Holländer (Sony Classical); Strauss’s Die ägyptische Helena (Telarc), Ariadne auf Naxos (Deutsche Grammophon), Elektra (Deutsche Grammophon), Die Frau ohne Schatten (Teldec), and Friedenstag (Deutsche Grammophon); and Berlioz’s Les Troyens (Decca).  Voigt’s two solo recordings for Angel/EMI – All My Heart (an all-American album, 2005) and Obsessions (Wagner and Strauss scenes, 2004) – were bestsellers on the Billboard classical chart.  Voigt has appeared on Good Morning America and 60 Minutes, and her honors include being named vocalist of the year by Musical America in 2003, as well as an honorary doctorate from the University of South Carolina in 2009.  For more information, visit


Deborah Voigt: winter, spring and summer 2010

Jan 27 & 31; Feb 4, 8, 12, 16, & 20
Barcelona, Spain
Wagner: Tristan und Isolde (Isolde)
Gran Teatre del Liceu / Sebastian Weigle
Feb 27; March 5, 9, & 14
Strauss: Ariadne auf Naxos (title role)
Zurich Opera (debut) / Mark Elder
March 15
Zurich, Switzerland
April 23, 26, & 30; May 3, 6, 10, & 14
New York, NY
Wagner: Der fliegende Holländer (Senta)
Metropolitan Opera / Kazushi Ono
June 9, 12, 15, 18, 24, 27, & 29; July 2
San Francisco, CA
Puccini: La fanciulla del West (Minnie, role debut)
San Francisco Opera / Nicola Luisotti
July 28 – Aug 1 [dates tbd]Verbier, Switzerland
R. Strauss: Salome (title role)
Verbier Festival / Valery Gergiev
Aug 23, 26, 29, & 31
Matsumoto, Japan
R. Strauss: Salome (title role)
Saito Kinen Festival

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© 21C Media Group, January 2010

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