Alyssa Martin

Alyssa Martin

Hailed by Opera News as “vocally distinctive,” Alyssa Martin is quickly garnering attention as a standout young singer in a variety of repertoire. Ms. Martin has trained on the stages of the most prestigious Apprentice Programs in the United States, including The Santa Fe Opera, The Glimmerglass Festival, Opera Theatre of St. Louis, Des Moines Metro Opera, and Arizona Opera. Recently, Ms. Martin made a return to the Glimmerglass Festival to début The Fox in a new production of Janáček’s The Cunning Little Vixen, sang the First Witch in Dido and Aeneas in the Catacombs of Brooklyn with Unison Media, and made her Kennedy Center debut as the 2nd Soprano soloist in Penderecki’s Credo with the Indianapolis Symphony Orchestra.  She also performed the role of Angelina in La Cenerentola with Virginia Opera and this past summer with Northern Lights Music Festival. Other 2020 engagements were to include Cendrillon at Opera Birmingham, Scalia/Ginsburg with Virginia Opera, and a return to Dallas Opera for Il barbiere di Siviglia.  This past summer, 2021, she returned to the stage to reprise her signature role of Angelina in La Cenerentola with Northern Lights Festival.

 

Artist Bio

Hailed by Opera News as “vocally distinctive,” Alyssa Martin is quickly garnering attention as a standout young singer in a variety of repertoire. Ms. Martin has trained on the stages of the most prestigious Apprentice Programs in the United States, including The Santa Fe Opera, The Glimmerglass Festival, Opera Theatre of St. Louis, Des Moines Metro Opera, and Arizona Opera. Recently, Ms. Martin made a return to the Glimmerglass Festival to début The Fox in a new production of Janáček’s The Cunning Little Vixen, sang the First Witch in Dido and Aeneas in the Catacombs of Brooklyn with Unison Media, and made her Kennedy Center debut as the 2nd Soprano soloist in Penderecki’s Credo with the Indianapolis Symphony Orchestra.  She also performed the role of Angelina in La Cenerentola with Virginia Opera and this past summer with Northern Lights Music Festival.  Other 2020 engagements were to include Cendrillon at Opera Birmingham, Scalia/Ginsburg with Virginia Opera, and a return to Dallas Opera for Il barbiere di Siviglia.  This past summer, 2021, she returned to the stage to reprise her signature role of Angelina in La Cenerentola with Northern Lights Festival.

Ms. Martin has performed with esteemed companies including Tulsa Opera, Dayton Opera, Sacramento Philharmonic, Opera Birmingham, the Glimmerglass Festival, Arizona Opera, Santa Fe Opera, Santa Fe Symphony, Virginia Opera, Des Moines Metro Opera, and most recently Dallas Opera where she performed in their production of Manon Lescaut.

Ms. Martin was named a winner of the 2016-17 Sullivan Foundation Award and also received the Campbell Wachter Award from The Santa Fe Opera. Other prestigious awards include 1st Prize in both the Opera Columbus Cooper-Bing Vocal Competition and the Opera Birmingham Competition. She has been a winner in the Metropolitan Opera National Council Auditions in both the North Carolina District and the Arizona District, in which she went on to place 3rd at the Western Region Finals. She has been the recipient of numerous awards from organizations such as The Jensen Foundation, Orpheus Vocal Competition, Young Patronesses of the Opera, Opera Guild of Dayton, and the Partners for the Arts.

Ms. Martin completed her studies at the prestigious Indiana University Jacobs School of Music where she obtained both a bachelor’s and master’s degree under the instruction of Patricia Stiles and world-renowned soprano, Carol Vaness. Ms. Martin is a native of Greensboro, NC.

Updated 4.28.21

Audio Samples

Audio Sample "Rosina/Figaro duet"

Video

“Non piu mesta” from La Cenerentola

“Un soave non so che” from La Cenerentola

Pelleas et Melisande: Tower Scene

Press

"...mellifluous voice..." – Opera Today

Arizona Opera Sapphire Celebration – “…Martin blended her mellifluous voice with that of suave young baritone Joseph Lattanzi in the Act I Scene 2…”

"...captured all the delicacy..." – Voce di meche

Cendrillon – “Alyssa Martin captured all the delicacy of Massenet’s deliciously Gallic tunes…”

"...sang with a sweet sound...” – Opera Today

Don Giovanni – “Alyssa Martin was a charming Zerlina who sang with a sweet sound.”

“…beautiful treble trio sections…” – Washington Classical Review

Penderecki's Credo – “… mezzo-soprano Alyssa Martin joined her in beautiful treble trio sections, with Wall pulling out blazing high notes at crucial points.”

"...beautiful, lyrical coloratura skills..." – The Virginia Pilot

La Cenerentola – "As Cinderella, soprano Alyssa Martin’s beautiful, lyrical coloratura skills were in full evidence...when Martin bowed...the audience jumped to its feet in cheers..."