Amy Shoremount-Obra

Amy Shoremount-Obra

The Top Prize Winner of the 2018 Gerda Lissner Foundation International Vocal Competition in the Wagnerian Division, Amy Shoremount-Obra was recently hailed as “Incredible! Another vocal highlight of the evening. She performed with a tone steeped in longevity, endurance, and agility… This is a voice of true substance.” (Boston Music Intelligencer) She made her Metropolitan Opera début as First Lady in Julie Taymor’s acclaimed production of Die Zauberflöte. Since, she returned for productions of Lady Macbeth of the Mtsensk District, Norma, Nabucco, and Don Giovanni.

Calendar

Event Date
Apr 22
to
Apr 23
Turandot
Turandot
Opera Grand Rapids
Grand Rapids, Michigan

Artist Bio

The Top Prize Winner of the 2018 Gerda Lissner Foundation International Vocal Competition in the Wagnerian Division, Amy Shoremount-Obra was recently hailed as “Incredible! Another vocal highlight of the evening. She performed with a tone steeped in longevity, endurance, and agility… This is a voice of true substance.” (Boston Music Intelligencer) She made her Metropolitan Opera début as First Lady in Julie Taymor’s acclaimed production of Die Zauberflöte. Since, she returned for productions of Lady Macbeth of the Mtsensk District, Norma, Nabucco, and Don Giovanni.

Upcoming engagements include her debut in the title role of Turandot with Opera Grand Rapids. Last season and during the pandemic, she performed as a soloist for several concerts with Maryland Opera (scenes from Tosca, Un ballo in Maschera, and Manon Lescaut) and performed the title role of Maria (to critical acclaim) in Maria, Regina dInghilterra (Pacini) with Odyssey Opera.  Recently, she returned to The Metropolitan Opera once again for performances of the First Lady in Die Zauberflöte. She performed First Lady in Die Zauberflöte with the Pacific Symphony and performed her Mexican Solo Concert debut (arias from Turandot, Il Trovatore, Nabucco and Tannhaüser) with the Orquesta Filarmónica del Estado de Chihuahua, Mexico. Additionally, she performed as a soloist in Kodaly’s Te Deum and Vaughan Williams’ Serenade to Music with the Oregon Music Festival and Beethoven’s Symphony No. 9 with the New Choral Society (NY).

Following her “electrifying” portrayal of Donna Anna in Don Giovanni with Venture Opera, she was featured in the Sound Bites article issue of Opera News, where they hailed: “Shoremount-Obra’s shining, healthy soprano had all the power and glory required for ‘Or sai chi l’onore,’ demonstrating agility, accuracy and beauty as well as gale-force temperament.” Other notable operatic engagements include Leonore in Fidelio with Grand Harmonie Orchestra; Donna Anna in Don Giovanni with Opera Las Vegas and the Savannah Voice Festival; Marchesa in Verdi’s Un giorno di regno with Odyssey Opera of Boston, and a role début as Fiordiligi in Così fan tutte with Annapolis Opera.

In concert, Ms. Shoremount-Obra recently performed the soprano solo in Beethoven’s Symphony No. 9 and Vaugh Williams’s Serenade to Music with National Chorale, and did a concert and recital tour throughout the Hawaiian Islands with violinist Eric Silberger as part of the inaugural season of the Hawaii International Music Festival, which was co-founded by Ms. Shoremount-Obra herself. She also performed two roles in Opera America’s New Opera Showcase, a solo performance in Rossini’s Petite messe solennelle with the New Choral Society, a performance for the Sherrill Milnes Gala at The Harmonie Club in New York City, a recital for the Wagner Society of New York, and a fundraiser concert for the Hawaii International Music Festival at The Old Church. Additionally, Ms. Shoremount-Obra has appeared in Mozart’s Coronation Mass and Haydn’s Lord Nelson Mass with the Scarsdale New Choral Society, Schubert’s Mass in G major at Carnegie Hall; Verdi’s Requiem with National Chorale at Lincoln Center; a recital with the Savannah Voice Festival; Ifigenia in Händel’s Oreste with the Spoleto Festival in Italy; and as the Soprano Soloist in Fauré’s Requiem and Brahms’ Requiem, both at Carnegie Hall.

She has performed in numerous prominent venues throughout the world including Alice Tully Hall, Carnegie Hall, David H. Koch Theater, the Oslo Konserthus and the Oslo National Gallery in Norway, The Tanglewood Institute, and The Sheldon in St. Louis. Additionally, Ms. Shoremount-Obra has been a featured performer representing The Metropolitan Opera at the Annual Viennese Opera Ball in New York City for seven consecutive years. She made her début with the New York City Ballet in 2009 performing the role of First Fairy in Mendelssohn’s A Midsummer Night’s Dream.

Ms. Shoremount-Obra collaborated with composer Mikael Karlsson and librettist Elle Kunnos de Voss on the one-woman monodrama The Echo Drift, which was written for her and premièred at the house of Sweden in Washington DC in 2014. She also filmed her first major motion picture début as an opera singer in The Upside, starring Bryan Cranston and Kevin Hart.

Ms. Shoremount-Obra also finds success in the realm of contemporary and new music. Starting with her cover of John Zorn’s La machine de l’être, a one-woman monodrama, with New York City Opera, she has gone on to perform two workshop performances and the world première of Grammy Nominated Composer Tarik O’Regan’s monodrama The Wanton Sublime with American Opera Projects. She was also featured in the world première of Paola Prestini’s new opera De Deo in the role of Beattrice with New York City Opera VOX and was a resident artist with American Opera Projects’s “Composer and the Voice” Program, premièring new works all season for a team of up-and-coming composers.

She has been named a National Semi-Finalist and the New York Regional Winner of the Metropolitan Opera National Council Auditions, a Finalist in the George London Competition, a Finalist in the Giulio Gari International Vocal Competition, and a Semi-Finalist in the Competizione dell’Opera in Dresden. Additionally, she was awarded two consecutive career grants from the Metropolitan Opera National Council’s Education fund.

Ms. Shoremount-Obra is featured on two operatic world-première Recordings on Albany Records: as Jenny on the recording of Robert Ward’s Roman Fever and as Nina in Thomas Pasatieri’s The Seagull. Amy is a native of New Jersey, and currently continues her vocal studies with Diana Soviero. She is a graduate of The Manhattan School of Music and The Juilliard School.

Updated 6.16.21

Video

“Dich, teure Halle” from Wagner’s Tannhäuser

Beethoven: Fidelio, Act I Aria “Abscheulicher”

“In questa reggia” from Turandot

Press

"...velvety tone and delicacy..." – Boston Classical Review

PermaDeath – "As Artemis, Amy Shoremount-Obra delivered her lines with velvety tone and delicacy."

"...brought fiery depth to the sometimes-thankless role of Donna Anna..." – Huffington Post

Don Giovanni – “Amy Shoremount-Obra brought fiery depth to the sometimes-thankless role of Donna Anna. The only other time I’ve felt any sympathy towards Anna was when I saw Anna Netrebko sing her in Covent Garden. Shoremount-Obra was equally convincing and sang with sensitivity yet full-throated power, her voice shaking the rafters of the small building. It’s a tremendous experience hearing a voice that could fill a theater of 3000 so up close and personal. ”

"...vocally vibrant..." – New York Times

Die Zauberflöte – "The Three Ladies — Amy Shoremount-Obra, Renée Tatum and Margaret Lattimore, were a vocally vibrant and well-balanced trio."

"...a rock of tonal security and effortless- seeming power..." – Opera-L Blog

Fidelio – “But what really stood out last night was the Leonore of Amy Shoremount-Obra. True, the venue was small, but she was a rock of tonal security and effortless- seeming power, her absolutely lovely soprano voice [which reminded me of Rysanek (including her easy high notes) on the Fricsay Fidelio recording] was ideal for the role. She never seemed to strain, but had all the clarion notes in the upper register this tough role demands and she actually interpolated higher ones!!! in the dramatic confrontation with Pizarro that begins “Er sterbe!” All in all, hers was one of the most satisfying Leonores I’ve experienced and if she can do this in a larger venue, she’s got a big future ahead of her. A Met National Council Regional winner, Shoremount-Obra’s already made her Met debut (2014 as the First Lady in Zauberflote) and I hope opera managers give her opportunities.”

"...rich, buttery soprano..." – New York Arts

Beethoven’s Symphony No. 9 – “Amy Shoremount-Obra’s rich, buttery soprano soared in the quartets without her screeching or even seeming to make an effort to cut through Beethoven’s thick textures. She carried her melodic lines with a fine sense of their arching reach.”