Kimberly Sogioka

Kimberly Sogioka

Praised by Opera (UK) as “…the most opulent female sound on the stage…” young mezzo-soprano Kimberly Sogioka is drawing much attention as an exciting artist on opera and concert stages.

Most recently, Kim performed as a soloist in Heart Mountain Suite with Yakima Symphony and in Beethoven’s Symphony No. 9 at an gala for the Victims of Communism Memorial Foundation at Union Station in Washington D.C., sang at St. John’s of Lattingtown’s Opera Night, and performed in Gianni Schicchi/L’Enfant with Pacific Opera Project. 2020 engagements were to include singing the role of Mercedes in Carmen with the Orchestra of St. Luke and MasterVoices Chorus at Lincoln Center, and performing the role of Stefano in Romeo et Juliette with Mississippi Opera

Artist Bio

Praised by Opera (UK) as “…the most opulent female sound on the stage…” young mezzo-soprano Kimberly Sogioka is drawing much attention as an exciting artist on opera and concert stages.

Most recently, Kim performed as a soloist in Heart Mountain Suite with Yakima Symphony and in Beethoven’s Symphony No. 9 at an gala for the Victims of Communism Memorial Foundation at Union Station in Washington D.C., sang at St. John’s of Lattingtown’s Opera Night, and performed in Gianni Schicchi/L’Enfant with Pacific Opera Project. 2020 engagements were to include singing the role of Mercedes in Carmen with the Orchestra of St. Luke and MasterVoices Chorus at Lincoln Center, and performing the role of Stefano in Romeo et Juliette with Mississippi Opera.

Prior engagements include performing as Nicklausse in Les Contes d’Hoffmann with Opera Orlando, Suzuki in Madama Butterfly with Opera in the Heights and Pacific Opera Project, and as a soloist in Heart Mountain Suite with the Whatcom Chorale, and Vivaldi’s Gloria with MidAmerica Productions at Carnegie Hall. She also performed in Symphony Silicon Valley’s Misa Tango concert, which explored the style of the Argentine tango in the form of large scale orchestral compositions as opposed to its origins as dance music. Other recent engagements include Carmen in scenes from Carmen with the Metropolitan Opera Guild; Berta in Il barbiere di Siviglia with Opera Grand Rapids; and productions with Michigan Opera Theater as Siébel in Faust and Suzuki in Madama Butterfly, which she also performed with Northern Lights Music Festival. She also performed the role of Stephano in Roméo et Juliette with Opera Tampa as well as in a new co-production with Opera Carolina, Virginia Opera, Toledo Opera, Lyric Opera Baltimore, and Opera Grand Rapids.

A frequent collaborator with composers on new music projects, Ms. Sogioka created the role of Nurse 3 in The Metropolitan Opera and English National Opera workshop of Michael Torke’s Senna, was a mezzo soloist in The Metropolitan Opera workshop of Scott Wheeler’s The Sorrow’s of Frederick, collaborated with Clint Borzoni in his operas Margot Alone in the Light and Antinous and Hadrian, workshops of Bruce Wolosoff’s The Great Good Thing and Sarah Mattox’s Heart Mountain, and also with Stephen Andrew Taylor in scenes from his opera Paradises Lost with Operamission.

Other performances include the title role in Bizet’s Carmen with the Crested Butte Music Festival as a member of the Marcello Giordani Young Artist Program, Susanna in Corigliano’s The Ghosts of Versailles with the Aspen Opera Theatre Center, Nerone in Agrippina with Operamission, and Dulcinée in Massenet’s rarely performed Don Quichotte with Utopia Opera.

In demand as a concert artist, appearances have included the west-coast première of Mack Wilberg’s Requiem, Irving Fine’s The Hourglass and An Immorality by Copland with The National Chorale at Avery Fisher Hall, Das Lied von der Erde with the Orchestra Insonica at Paul Hall, as a soloist in Beethoven’s Symphony No. 9, Rossini’s Petite messe solennelle with the Greenwich Choral Society and Mozart’s Requiem with the Camerata New York.  Ms. Sogioka also collaborated with renowned harpsichordist Kenneth Cooper, in selections from Bach’s Weihnachts-Oratorium, and also performed as part of his master class series for the Chamber Music Society of Lincoln Center.

Ms. Sogioka was the first-place winner of the Rochester Oratorio Society’s Classical Idol Competition, as well as winner of the Audience Favorite Award and second place winner in the New Jersey State Opera Alfredo Silipigni Vocal Competition.  She also made her off-Broadway début in the New York Musical Theatre Festival singing the role of the Evangelist Narrator in Gerald Fried’s Omnia ad Dei Gloriam (or Les the Least Straightens the Lord).

Updated 4.29.21

Video

Excerpt from Madama Butterfly 

Kimberly Sogioka in concert at Carnegie Hall

Press

"...had the power to be heard within any ensemble...” – Opera News

La Petite Messe Solennelle – “Sogioka had rainbow colors, but also had the power to be heard within any ensemble.”

"...sang with a secure, plush instrument..." – Detroit News

Madama Butterfly – “As Butterfly’s faithful companion, Suzuki, mezzo-soprano Kimberly Sogioka gave a sensitive performance in her MOT debut, and she sang with a secure, plush instrument in the Flower Duet with Los.”

“...the most opulent female sound on the stage..." – Opera Magazine

Carmen – “The most opulent female sound on the stage belonged to the Mercédès, Kimberly Sogioka, who later took over the title role in a young artists’ concert of excerpts from the opera.”

"...lithe, dark-hued coloratura...” – New York Times

Agrippina – “The mezzo-soprano Kimberly Sogioka impressed with lithe, dark-hued coloratura.”

"...her brilliant timbre sliced through the orchestration..." – Opera News

Faust – “ As Siébel, mezzo-soprano Kimberly Sogioka was pixie sweet. Her brilliant timbre sliced through the orchestration and her unrequited love…was poignantly painted.”