|
photo: Kingmond Young |
Talise Trevigne is a singer recognized for the "sheer beauty of her voice" and "exquisite stage presence." As one critic stated, "No wonder Talise Trevigne is the buzz of the opera world. She has it all: a glorious voice, matchless acting ability, and beauty that takes your breath away!"
She has received unconditional universal praise for débuts as Violetta, Juliette and Pamina. Critics have deemed her Lucia as "perfect Bel Canto singing", "mesmerizing" and "ravishing." Last season, she starred as Violetta with Birmingham Opera Company and the City of Birmingham Symphony Orchestra in Graham Vick's spectacular "arena version" of La Traviata. This production has been nominated for Britain's 2008 Royal Philharmonic Society Music Award.
In thse summer of 2008, she made her Australian opera début starring as "The Beloved" in the world premiere (Brisbane Festival) of Liza Lim's The Navigator. She reprises this demanding role at the Melbourne International Festival of the Arts in October; and at the Vienna and Holland Festivals in June 2009. She returns to London to perform an exciting new recital with Roger Vignoles on May 29, 2008. She sings her first Gilda with the Anna Livia Dublin International Opera Festival in September and reprises this role with Knoxville Opera in February 2009. She sings her first Mimì in her company début with Opera Omaha in April 2009, and reprises this beloved role with Connecticut Oopera in May 2009. Ms. Trevigne will début with San Diego Opera singing her first Micaëla in May of 2011.
She made her Chicago concert début as soloist with the Chicago Master Singers in Fauré Requiem and Bruckner's Te Deum and was unreservedly lauded as soloist with the Ars Viva Symphony Orchestra in Vier letzte Lieder. She sings these exquisite Strauss pieces again in March, 2008 with the Sacramento Philharmonic. A favorite with UK audiences, she débuted with Almeida Opera in the world premiere of Errollyn Wallen's The Silent Twins.
Ms. Trevigne created the title role in the world premiere of Judith Weir's new opera Armida. The film, shot on location in Morocco, features an international cast and won glowing reviews internationally when televised in December 2005.
Her versatility was clearly shown when she appeared as vocal soloist in the World Premiere of Dance Theater of Harlem's St. Louis Woman - A Blues Ballet at the Lincoln Center Festival, the Dorothy Chandler Pavillion in Los Angeles and the Kennedy Center in Washington, DC; and in recital with friend and colleague tenor David Ossenfort in New York's Schumann Festival. She also starred in the title role of Euridice in Gluck's Orfeo ed Euridice with Bel Canto at Caramoor.
Ms. Trevigne made her operatic début under the direction of Maestro Julius Rudel in La Traviata and Don Giovanni in Aspen. She has also performed principal roles in Purcell's Dido and Aeneas, Les Malheurs D'Orphée, Nerea in Händel's Deidamia, Norina in Don Pasquale, Constance in Les Dialogues des Carmélites, Miranda in The Tempest, and Sophie in Der Rosenkavalier.
Equally at home on the concert stage, orchestral and recital performances have included Cantaloube's Chants D'Auvergne, Phedon in Satie's Socrate, Mahler's Second Symphony, Barber's Knoxville, Summer of 1915, Prayers of Kierkegaard, Mozart's Missa Brevis and Exsultate jubilate, and Haydn's Creation, and was a featured soloist on the Trinity Concert Series in New York singing rare works of Maurice Delage, Purcell and Nin-Culmell.
As generous as she is talented, Ms. Trevigne has been a featured soloist in numerous benefits including those for The San Francisco Aids Foundation the Names Project and New York's September 11 Memorial Concert presented by Trinity Church.
Gilda (role début) | Rigoletto | Anna Livia Dublin International | Sep 7, 9, 11 & 13, 2008 |
The Beloved | Liza Lim's The Navigator | Melbourne International Festival | Oct 9, 10, 11, 12, 2008 |
Gilda | Rigoletto | Knoxville Opera (company début) | Feb 13 & 15, 2009 |
RECITAL | with Simon Lepper - London | Rosenblatt Recital Series | TBD |
Mimì (role début) | La Bohème | Omaha Opera (company début) | April 15, 17, 19(m), 2009 |
Mimì | La Bohème | Connecticut Opera (company début) | May 15, 17, 21, 23, 30 & 31, 2009 |
The Beloved | Liza Lim's The Navigator | Vienna Festival | Jun 11, 12 & 13, 2009 |
|
| The Holland Festival | Jun 2009 |
Micaëla (role début) | Carmen | San Diego Opera (company début) | May 14, 17, 20, 22m, 25, 2011 |
|
Ms. Trevigne in recital with Roger Vignoles |
Click on the icon or sample name below. High-speed internet connection is recommended.
Additional audio samples are available on CD. Contact Novo Artists for more information.
| 06:59 | 6.5mb |
| 05.31 | 5.1mb |
| 05:45 | 5.3mb |
| 04:33 | 4.2mb |
As "The Beloved" in Liza Lim's The Navigator: |
"Talise Trevigne as The Beloved has a fluid, gorgeous voice." |
Gillian Wills - The Australian - Aug 1, 2008 |
| Ms. Trevigne as Lucia: |
Lucia di Lammermoor: Mayhem, Madness and Superb Singing "There are no easy roles here, the most important being that of Lucia di Lammermoor, who must be a soprano capable of executing the most difficult coloratura passages in a voice of impressive range and power. If the singer is young, attractive and a superb actress as well, her success and that of the opera is assured. Certainly Talise Trevigne, here performing the role of Lucia, has all these qualities in abundance. Her great skill and her beauty transfixed her audience, and I, no less than anyone else present, was entranced by a voice that we will be hearing for many years to come. Every scene in which Trevigne appeared was memorable, beginning with her first encounter with Edgardo, in which she begs him to keep their love secret and then joins with him in declaring their love before God, to her descent into madness after stabbing her bridegroom Arturo. This last scene is the epitome of Trevigne's skill as singer and actress, as Lucia wanders about the stage in a blood-spattered gown, delirious, thinking that she has married Edgardo rather than Arturo, responding distractedly to the brief calls of the flute, singing melodies recalled from happier days, and finally collapsing with a final high note expressive of the anguish which has driven her to this state. I doubt that even Joan Sutherland in her best days could have done any better." |
Martha A. Fawbush - Classical Voice of North Carolina - Jan 19, 2008 |
"Any successful production of "Lucia" rests firmly on the shoulders of the leading lady. Talise Trevigne's warm, clear voice expresses a generous range of emotions and colors. She uses vocal ornaments sparingly but effectively, keeping her interpretation focused on the drama rather than on pyrotechnic display. She caps arias and duets with thrilling high notes (most notably in the famous "Sextet") and makes her mad scene a showpiece of manic mood changes." |
Roy C. Dicks - The News & Observer - Jan 18, 2008 |
"Talise Trevigne is acclaimed for the magnificent beauty of her voice, and for how she captivates audiences with her stunning presence. She's definitely a star to watch, we're thrilled that she's coming to town." |
Deana Vassar, host of WPCE Radio's Preview! program (Raleigh, NC) |
| As Soloist in Strauss' Vier letze Lieder: |
The exquisitely poised guest artist, soprano Talise Trevigne, controlled the varied timbre of her voice with laserlike precision. Brava!" |
Gregg Wager - Sacramento News & Review - Apr 17, 2008 |
"Soprano, Ars Viva pair well" "Trevigne a treat as soloist in Strauss' 'Last Songs'" "Soprano Talise Trevigne, the soloist in the Strauss songs, was the evening's prime discovery." "Trevigne commands a lyric-coloratura soprano of striking freshness and beauty. She has the radiant high notes and creamy timbre one expects from a Strauss soprano and the ability to float long, arching phrases over a lush orchestra." "Her singing was gorgeous and musically sensitive. I look forward to hearing her again." |
John von Rhein - Chicago Tribune - Nov 20, 2007 |
| As Violetta in Verdi's La Traviata (UK - Birmingham Opera & CBSO - Oct 25 and 26, 2007): |
"Talise Trevigne's Violetta sounded like the real thing. The American soprano looked sexy, acted intelligently and had all the notes. Another plus: she had anima (soul), enough to raise the goose-bumps in the letter scene - no mean feat in English." |
Andrew Clark - OPERA Magazine (UK) - January, 2008 |
"That I had any tears in my eyes in Act III was down to Trevigne's dignity. Her singing was thoughtful and her stillness more shocking than any amount of crudeness." |
Anna Picard - The Independent - 4 Nov 2007 |
"Talise Trevigne… this Violetta was young, optimistic, wise, tired, and, in the last act, as dead as a mummy. Her death, sloughing off life and exiting like a soul, was like some Inuit transfiguration. The voice is to die for." |
The Independent (UK) - Oct 29, 2007 |
"Catch the Buzz" " … the vocal triumph of the evening lay with Talise Trevigne as Violetta, the 'gone-astray' courtesan herself. Both vocally and dramatically hers was a performance of genuine dignity and allure." |
Birmingham (UK) Post - Oct 26, 2007 |
"Trevigne worked hard all night - her honeyed soprano making light work of the Act I fireworks and sweetly expiring in the finale." |
The Times - Oct 29, 2007 |
"A touching Violetta." |
The Guardian (UK) - Oct 27, 2007 |
"Talise Trevigne who played the part of Violetta, was exceptional. She is the most amazing singer I have heard in decades. Her voice and performance carried such emotion you could actually feel what she was saying - particularly during the third act." |
Performance Reviews Online (UK) - Oct 26, 2007 |
"Fresh, pure, alert singing." |
The Telegraph - Oct 29, 2007 |
Lighting a Fire Under Lucia You don't have to be a critical genius to figure out that Talise Trevigne, the star of San Francisco Lyric Opera's new production of Lucia di Lammermoor, has a major-league voice and star quality to match. She lit a fire under Saturday's satisfying, if basic, performance. Trevigne, in her first impersonation of Donizetti's formidable title role, proved that she has all the required vocal resources and musicianship. Penetrating, round tone at both registral poles is just the beginning. She threw out clear, unaspirated passagework; was always precisely on the beat, showing a great sense of rhythm; and phrased and softened attacks like the seasoned pro she is on her way to becoming. As an actor, too, she proved equal to the task. She allowed no operatic or stagey mannerisms in her performance and from the outset conveyed Lucia's emotional fragility. When Trevigne took over - as she must - for the mad scene, her performance reached an extraordinarily high level. |
Michael Zwiebach - San Francisco Classical Voice - May 26, 2007 |
Trevigne: Ecco la Lucia! Some sopranos singing the title role of "Lucia di Lammermoor" work their way up to the great climactic Mad Scene (and some die there…or before), but not Talise Trevigne. This young, beautiful soprano from Milpitas sang a Lucia on fire from the first note to the last tonight, a world-class performance. From a full-voiced "Regnava nel silenzio" to "Quando rapito in estasi," a rapturous love duet (sung pretty much as a solo), a glorious Sextet in which Trevigne took everybody with her to a higher level, to the Mad Scene - rightly interrupted by applause before the "Spargi d'amaro pianto" conclusion - the soprano did everything right, and yet never sounded "singerly." Hers is a big voice, but not outsized, a voice with warmth and agility, the projection is flawless, and above all, Trevigne sings without effort, sounding natural, musical, and conveying a sense of joy in her art. She sings dramatic soprano and coloratura, and everything in-between, but the listener is aware of the music only, not the technique, the fach, the voice production." |
Janos Gereben - San Francisco Chronicle, The Examiner - May 28, 2007 |
Led by a vital Violetta The biggest news coming out of Opera San Jose this season is the outstanding soprano, Talise Trevigne. Has the company ever sounded this good? Have its productions ever shone with this much sophistication? Not in my memory -- and I keep hearing the same from South Bay opera buffs who've been around a lot longer than I. Another element stood out Saturday: the audience. It buzzed with excitement (and you know and I know that that's not typical in San Jose). It also included lots of twenty- and thirty-something listeners. The buzz, clearly, is about Trevigne, who has star power: good looks, graceful movements, potent acting ability and a voice that should spring her toward a big career. Her voice is limber and acrobatic; butter-rich, yet airy. She sings with terrific control -- and emotional abandon. She goes for it Her Violetta was flirtatious, furious, feverishly in love and fainting, literally, from the tuberculosis which brings her down. This was a superb performance, and it brought down the house. To hear Trevigne sing "Ah fors'é lui" -- about "mysterious and unattainable love" -- was a powerful experience. She can skewer a high note at a whisper and then hold it right there. Her love duets in the first and last acts with Alfredo, were at once delicate and tormented. With Trevigne's advance toward death: her desperation, resignation and last gasps, the truth of her situation, registered on her face, in her eyes, in her voice. The cast galvanized around her. The curtain fell, the crowd roared. |
Richard Scheinin - San José Mercury News - Feb 13, 2007 |
| As Rosina in Rossini's Il Barbiere di Siviglia: |
Everything was improved from opening night. This time around, it was flat-out better: the timing, the chemistry, the interplay between singers and orchestra, and the singing itself. So where, specifically, was the difference this time around? First of all, the cast I saw Sunday featured the superb soprano Talise Trevigne in the role of Rosina, the coquette around whom the comic action whirls. Trevigne is a coloratura soprano -- light and agile and eating up the most ornately scalloped or hop-scotching flourishes in the score, which take her soaring. But her voice also has weight and warm layers of pearly luster. And as comfortable as she is flying upward, she also can glide downward, so much so that she was able to sing Rossini's original scoring for a lower-voiced mezzo-soprano. Of course, this is all pretty technical. What's important is that Trevigne sang with such affection for the music. Performing Rosina's famous cavatina at the start of the first act's second scene, she opened up the full line and beauty of the melody; it was a showstopper. She also was inside the role; when she described herself as a "viper" when "crossed in love," you believed it. Trevigne was viper and coquette -- and a woman truly in love with the amorous young Count Almaviva, who is aided by Figaro (Seville's conniving barber and all-around hustler) in a nutty plot to steal Rosina from the clutches of her rich and boring dolt of a benefactor, Doctor Bartolo. Whenever she got near Almaviva, Trevigne's flirty, pie-eyed infatuation lit up the stage. She has presence." |
Richard Scheinin - Mercury News - Nov 28, 2006 |
| As Juliette in Gounod's Roméo et Juliette (Opera San José): |
"Acting with realism, singing with crystal clear tone and using a technique that allows her to climb and descend the coloraturas with great ease, the soprano Talise Trevigne gave the audience a convincing Juliette. From the moment she sang 'Tout un monde enchanté semble naitre a mes yeux!' Trevigne was wildly cheered. She received numerous ovations during the night." |
Cultural Review by Iride Aparicio for La Oferta |
"It didn't take long for soprano Talise Trevigne to bring down the house Sunday during her debut with Opera San Jose at the California Theatre. In the first act of Gounod's 'Roméo et Juliette,' Trevigne, as the famous Juliette (the one you know from Shakespeare), hit the stage with electric velocity and moved toward her first aria, known as Juliette's Waltz. The shock of her voice! It is pearly lustrous and deep -- and Trevigne flung it through acrobatic ascents and descents, with a looping, I-love-life giddiness that fit Juliette to a T. It was charming, a little coquettish, supremely confident and -- I'm happy to lay on the adjectives here -- thrilling, making for one of those moments when you again realize just how beautiful the human voice can be. The audience, filled with Sunday matinee opera buffs, exploded with cheers for her. If Trevigne sticks around town for a while, we are going to be treated to some super-good performances. Is this really happening in San Jose? It is! The company has a pair of rotating casts, through Sept. 24. Hurtado and Trevigne courted the audience with greater success than Bard and Bengochea in the opera's first half - oh those love duets!" |
Richard Scheinin - Mercury News - Sep 12, 2006 |
"Although not a coloratura soprano, the stunning Talise Trevigne asserted herself in 'Je veux vivre,' and quickly won over the audience. In the last act, her 'potion aria,' 'Amour, ranime mon courage,' proved to be the dramatic high point of the entire performance, a tour de force of anxiety, faith, fear, and resolve. Fortunately, the production preserved the entire scene." |
SFCV.org - Sep 10, 2006 |
| As Pamina in Mozart's Die Zauberflöte (début): |
"Soprano Talise Trevigne is brilliant as Pamina. Beautiful, demure and gloriously voiced, she sings with grace and intelligence and acts with great sureness. From San Francisco, she is new to Des Moines audiences. Hopefully she will become a regular here, for she is destined to create a loyal following." |
Robert C. Fuller - Special to The Register - June 26, 2006 |
"The Pamina was Talise Trevigne, meticulously vocalized, with lovely dynamic shading in the quartet." |
Mark Thomas Ketterson - Opera News - October 2006 |
| As Vocal Soloist in Dance Theatre of Harlem's St. Louis Woman: A Blues Ballet (The Lincoln Center Festival): |
"…this is gorgeous entertainment …There are singers, and VERY good ones, including the spectacular Talise Trevigne." |
Kisselgoff - NY Times |
| As Euridice in Gluck's Orfeo ed Euridice (Bel Canto at Caramoor): |
"Euridice, played by soprano Talise Trevigne, stepped onstage wearing attire identical to the chorus - white peplos tunic, blue sash. Despite this unfortunate costuming understatement, she managed to stand out quickly. Just when all the pathos was beginning to seem tacked, or nailed on, Trevigne authenticated the emotions once again." "Her finely nuanced vocal performance ranged from a dramatic stage whisper to a powerful embodiment of anguish. Her tone was consistently round and solid, her vibrato lustrous!" |
John Aiello - The Journal News - Nov 14, 2002 |
|
photo: Kingmond Young |
|
Ms. Trevigne as Juliette in Roméo et Juilette |
The Beloved | Liza Lim's The Navigator | Brisbane Festival, Australia | 2008 |
Lucia | Lucia | Opera Company of North Carolina, Raleigh, NC | 2008 |
Lucia | Lucia | Asheville Lyric Opera, Asheville, NC | 2008 |
Violetta | La Traviata (company début) | Birmingham Opera (UK) | 2007 |
June Gibbons | The Silent Twins (World Premiere) | Almeida Opera, London | 2007 |
Lucia | Lucia di Lammermoor | San Francisco Lyric Opera | 2007 |
Violetta | La Traviata | Opera San José (guest artist) | 2007 |
Rosina | Il Barbiere di Siviglia | Opera San José (guest artist) | 2006 |
Juliette | Roméo et Juliette | Opera San José (guest artist) | 2006 |
Pamina | Die Zauberflöte | Des Moines Metro Opera | 2006 |
Armida | Armida (Judith Weir) | (Feature Film) World Premiere | 2003-5 |
Euridice | Orfeo et Euridice | Caramoor International Festival | 2002 |
Nerea | Deidamia | Caramoor International Festival | 2002 |
Norina | Don Pasquale | Caramoor International Festival | 2002 |
Eurydice | Les Malheurs D'Orphee | Henry Street Chamber Opera | 2002 |
Second Woman | Dido and Aeneas | Henry Street Chamber Opera | 2002 |
Nanetta | Falstaff (scenes) | Caramoor International Festival | 2001 |
Zerlina | Don Giovanni | Aspen Opera Theater | 1998 |
Sophie | Der Rosenkavalier (Act III trio) | Aspen Opera Theater | 1998 |
Violetta (cover) | La Traviata | Aspen Opera Theater | 1997 |
|
|
Ms. Trevigne as Pamina |
Bellini | I Capuletti ed I Montecchi | Giulietta | 3 |
| I Puritani | Elvira | 3 |
| La Sonnambula | Amina | 3 |
Bizet | Carmen (début 5/11) | Micaëla | 2 |
| Les Pêcheurs de Perles | Léïla | 3 |
Britten | A Midsummer Night's Dream | Tytania | 3 |
Delibes | Lakmé | Lakmé | 3 |
Donizetti | Don Pasquale | Norina | 1 |
| La Fille du Regiment | Marie | 3 |
| Lucia di Lammermoor | Lucia | 1 |
Gluck | Orfe ed Euridice (French & Italian versions) | Euridice | 1 |
Gounod | Roméo et Juliette | Juliette | 1 |
Grétry | Zémire et Azor | Zémire | 1 |
Händel | Alcina | Alcina | 3 |
| Semele | Semele | 3 |
Lim, Liza | The Navigator (world premiere 7/08) | The Beloved | 2 |
Massenet | Manon | Manon | 3 |
| Thaïs | Thaïs | 3 |
Milhaud | Les Malheurs d'Orphée | Eurydice | 1 |
Monteverdi | L'Incoronazione di Poppea | Poppea | 3 |
Mozart | Don Giovanni | Donna Anna | 3 |
| Die Entführung aus dem Serail | Konstanze | 3 |
| Idomeneo | Ilia | 2 |
| Die Zauberflöte | Pamina | 1 |
Offenbach | Les contes d'Hoffmann | Olympia & Giulietta | 3 |
Puccini | Gianni Schicchi | Lauretta | 2 |
| La Bohème | Mimì (role début 4/09) | 2 |
|
| Musetta | 2 |
| Turnadot | Liù | 3 |
Rossini | Il Barbiere di Siviglia | Rosina | 1 |
Strauss, R. | Der Rosenkavalier | Sophie | 2 |
Verdi | Rigoletto (début 2/09) | Gilda | 2 |
| La Traviata | Violetta | 1 |
Wallen, Errollyn | The Silent Twins (world premiere) | June Gibbons | 1 |
Weir, Judith | Armida (world premiere film) | Armida | 1 |
1 | performed |
2 | completely prepared |
3 | in preparation or future role |
Gallery 2 - Ms. Trevigne as Violetta (La Traviata directed by Graham Vick) |
|
|
|
R. Strauss' Vier letzte Lieder - Chicago, November 2007 | ||
J.S. Bach, J.S. | various cantatas |
| Christmas Oratorio |
| Magnificat |
Barber | Knoxville, Summer of 1915 |
| Prayers of Kierkegaard |
Beethoven | Choral Fantasy |
| Mass in C |
| Symphony No.9 |
Berlioz | Les Nuits d'Été |
Brahms | Deutches Requiem |
| Liebeslieder Waltzes |
Britten | Ceremony of Carols |
| Les Illumination |
Bruckner | Te Deum |
DuParc | selected songs with orchestra |
Fauré | Requiem |
Händel | Judas Maccabaeus |
| Messiah |
Haydn | The Creation |
| Lord Nelson Mass |
| Missa Brevis in F |
| Missa Brevis Sanctis |
| Stabat Mater |
Mahler | Symphonies No. 2 & 4 |
Mendelssohn | Elijah |
| Hymn of Praise |
| "Hear my prayer" |
| "Infelice" |
Mozart | selected concert & opera arias |
| Grand Mass in c minor |
| Missa Brevis in F |
| Requiem |
| Vesperae Solennes de Confessore |
Pergolesi | Stabat Mater |
Poulenc | Gloria |
Respighi | Lauda per la Natività del Signor |
Rutter | Requiem |
Schubert | Mass in G |
Strauss, R. | Vier letzte Lieder |
Vaughan-Williams | Dona Nobis Pacem |
| Hodie |
| Mass in g minor |
| Sinfonia Antarctica |
Vivaldi | Gloria |
| Magnificat |
Desert bloom |
How do you turn a 400-year-old love poem into an opera about a TV journalist covering a modern middle-eastern war? Stuart Jeffries talks to composer Judith Weir and the crew behind Armida |
Thursday, December 1, 2005 |
The Guardian - London |
In the Cafe de France in Essaouira, a beautiful walled city on Morocco's Atlantic coast, some British people are making an opera. It's called Armida and tells the story of a soldier and a TV newshound who set aside their differences during some nameless contemporary desert war and fall in love. |
But the locals don't know or - let's be honest - care about any of that. All they're bothered about is that today is Thursday, Morocco's national lottery day, and they need to buy their tickets from the bloke in the cafe's back room. In between takes, a line of men is suffered by director Margaret Williams to walk across her set and return with a ticket each. Really, she should have shot the locals, too, and thereby made a second film featuring the characterful faces of Essaouira's lottery junkies as they move nimbly across a landscape of cameras, cables, microphones and opera singers. It could have been a culture-clash ballet, or maybe a sitcom. |
But Williams's task is difficult enough as it is. She is filming an opera to be screened on television. It's the hardest job in the world - and, ratings-wise at least, one of the least rewarding. Have you ever tried to film a scene of soldiers playing football in a desert sandstorm with the sand lashing the opera singers' faces and getting into the camera? Williams has. And have you ever tried to condense four centuries of myth-making about the Rinaldo and Armida love affair into a 50-minute opera that alludes to the Iraq war, without being exclusively about that conflict, to be screened on Channel 4 with one commercial break? Probably not. |
The world premiere television broadcast of Judith Weir's ARMIDA starring TALISE TREVIGNE took place on Britain's Channel 4, Sunday 25 December, 2005.
RECITAL | with Roger Vignoles | 2008 |
SOLOIST | R. Strauss Vier letzte Lieder | 2008 |
GUEST ARTIST | Gala Fantasy Concert - Opera Roanoke | 2008 |
SOLOIST | R. Strauss Vier letzte Lieder | 2007 |
SOLOIST | Fauré Requiem & Bruckner Te Deum | 2007 |
SOLO RECITAL | Chicago | 2007 |
St. Louis Woman | Lincoln Center Festival | 2003 |
Carmina Burana | Peninsula Orchestra | 2002 |
Chants D'Auvergne | Trinity Church, Manhattan Chamber | 2001 |
SOLOIST | Händel Messiah | 2001 |
Socrate (Phedon) | Trinity Church, Manhattan Chamber | 2001 |
SOLOIST | Fauré Requiem | 2000 |
SOLOIST | Händel Messiah | 2000 |
Names Project, Benefit Concert | Merkin Hall | 1999 |
Knoxville, Summer of 1915 | Peninsula Orchestra | 1997 |
SOLOIST | The San Francisco Aids Foundation |
|
SOLOIST | September 11 Memorial Concert |
|
Gala with Marilyn Horne, Ruth Ann Swenson, James Morris/Warren Jones | 1998 | |
Warren Jones |
Roger Vignoles |
Ms. Trevigne in recital, May 29, 2008
WINNER | Royal Philharmonic Society Award | La Traviata - Birmingham Opera Company (England) | 2008 |
Manhattan School of Music, BM |
Manhattan School of Music, MM |
Bel Canto Institute |
Aspen Music Festival |
|
photo: Kingmond Young |
Ah fors' è lui … Sempre libera
- Violetta (La Traviata - Verdi).wma
