Hailed by the New York Times as “a voice with considerable warmth,” and the Boston Globe as “elusive, delicate, silvery and persuasive,” lyric-soprano Sarah Davis has been recognized as a gifted performer both on the recital and operatic stage. She has had success singing Mozart, new music and her first love, art song. Ms. Davis debuted with the Cleveland Orchestra this year, singing under the baton of composer/conductor Matthias Pintscher and most recently premiered Elliott Carter’s song cycle for soprano and chamber orchestra, “What are years” at the Tanglewood Music Center, under the baton of Oliver Knussen.
Opera credits include: Gilda (Rigoletto) and Pamina (Magic Flute) with Center City Opera Theater, Anne Trulove (Rake’s Progress) and Echo (Ariadne auf Naxos) with the Chautauqua Institution, Cendrillon (Massenet’s Cinderella) and Nannetta (Falstaff) with Peabody Opera Theater. She made her professional recital debut with the “Trinity at One Concert Series” in New York City, appeared in the Joy in Singing series at the Lincoln Center Library and premiered John Harbison’s grand aria for soprano and piano, Vocalism, at SongFest in Malibu, CA. Earlier this summer she was an Artist in Residence at the Cleveland Art Song Festival and spent two months in residence as a Vocal Fellow with the Tanglewood Music Center (Repertoire included Mahler, Canteloube, Schumann, Carter and Eric Nathan). Upcoming engagements include Orff’s Carmina Burana, Vaughan Williams’ Dona nobis pacem, various song recitals, and the role of Donna Anna in Mozart’s Don Giovanni with the Chesapeake Chamber Opera. Ms. Davis has appeared with Vox Ama Deus in Haydn’s Lord Nelson Mass, Beethoven’s Missa Solemnis, and Countess in the Act II Finale of Mozart’s Le Nozze di Figaro last spring.
www.SarahJoanneDavis.com New York Times Review