Anne-Marie MacIntosh
Hailed by the Globe and Mail as one of “The Voices of a Generation,” Canadian soprano Anne-Marie MacIntosh is a recent graduate of the Adler Fellowship at San Francisco Opera.
During her time at San Francisco Opera, Anne-Marie made her War Memorial Opera House mainstage début as Marzelline in a new production of Beethoven’s Fidelio, under the baton of newly-appointed Music Director Eun Sun Kim. She later sang the role of Soeur Valentine in Dialogues of the Carmelites, and covered the roles of Donna Anna in Don Giovanni, Berta in Il barbiere di Siviglia, Annina in La Traviata, and Euridice in Orfeo ed Euridice. Days before completing the program in 2022, Anne-Marie jumped in with hours notice as Euridice for the final performance of Orfeo ed Euridice. The following night, she joined her Adler colleagues in their final concert, earning praise from San Francisco Classical Voice for her performance of Handel’s virtuosic “Scoglio d’immota fronte,” which “sounded like the clarion call of a famous diva at the beginning of her career.”
Artist Bio
Hailed by the Globe and Mail as one of “The Voices of a Generation,” Canadian soprano Anne-Marie MacIntosh is a recent graduate of the Adler Fellowship at San Francisco Opera.
During her time at San Francisco Opera, Anne-Marie made her War Memorial Opera House mainstage début as Marzelline in a new production of Beethoven’s Fidelio, under the baton of newly-appointed Music Director Eun Sun Kim. She later sang the role of Soeur Valentine in Dialogues of the Carmelites, and covered the roles of Donna Anna in Don Giovanni, Berta in Il barbiere di Siviglia, Annina in La Traviata, and Euridice in Orfeo ed Euridice. Days before completing the program in 2022, Anne-Marie jumped in with hours notice as Euridice for the final performance of Orfeo ed Euridice. The following night, she joined her Adler colleagues in their final concert, earning praise from San Francisco Classical Voice for her performance of Handel’s virtuosic “Scoglio d’immota fronte,” which “sounded like the clarion call of a famous diva at the beginning of her career.”
In the 2022 winter season, Anne-Marie made her role début as Micäela in Carmen with Opera San José, and joined San Diego Opera as the cover for Juliette in Roméo et Juliette a role she had made her début in 2018 with Calgary Opera. This was an operatic homecoming for MacIntosh, as she had been a member of Calgary Opera’s Emerging Artist Program from 2016-2018. She was lauded by Calgary Herald for her “highly commendable performance, her portrayal of Juliette girlish and graceful, but also containing inner fire.” Anne-Marie’s many other operatic credits include Gretel in Hansel and Gretel, Pamina in Die Zauberflöte, Cleopatra in Giulio Cesare, Adina in L’Elisir d’Amore, Lucia in The Rape of Lucretia, Abigail in The Crucible, and Susanna in Le nozze di Figaro.
A contemporary music enthusiast, Anne-Marie has been active in performing and workshopping new works. Anne-Marie was a participant in the 2019 Merola Opera Program, where she created the role of Diana in Jake Heggie and Gene Scheer’s If I Were You. Described by Opera Today as the “anchor of the opera,” she was praised for her “seamless technique, attractive lyric timbre, phrases of spine-chilling power and beauty” and her “easy stage deportment.” Earlier that year, she also performed as Coloratura in Claude Vivier’s Kopernikus with Against the Grain Theatre. This performance earned her and her colleagues a Dora Mavor Moore Award (Toronto’s performing arts awards) for “Outstanding Performance of an Ensemble, Opera.” While an emerging artist at Calgary Opera, Anne-Marie participated in the initial workshop of a new opera by Canadian composer John Estacio.
Anne-Marie’s foray into concert repertoire include performances with several symphony orchestras across North America. In the fall of 2022, Anne-Marie had the privilege of singing under the baton of Esa-Pekka Salonen as First Fairy in Mendelssohn’s A Midsummer Night’s Dream for San Francisco Symphony’s opening night gala. She appeared with the Stanford Live Orchestra in the summer of 2022 in a celebration of the music of Linda Ronstadt, paying tribute to Linda’s operetta period with a performance of “Poor Wand’ring One.” With the Calgary Philharmonic Orchestra, Anne-Marie performed as the soprano soloist in Mahler’s Fourth Symphony in the final concert of their 2018-19 season, and joined them the following fall in a series of concerts featuring operatic arias and duets. Her other concert credits include Haydn’s Creation with the Calgary Festival Chorus, Poulenc’s Gloria and Beethoven’s Ninth Symphony with the Vancouver Oratorio Society and the Vancouver Bach Choir, and Orff’s Carmina Burana with the Winnipeg Symphony Orchestra.
In vocal competitions, Anne-Marie has been recognized as a second-place regional winner and two-time regional finalist of the Metropolitan Opera National Council Auditions, a semi-finalist in the Doris McLellan Competition, and as the winner of the Winnipeg Music Festival Rose Bowl.
Born and raised near Vancouver, Anne-Marie is a former Rebanks Family Fellow at the Glenn Gould School (2015-2016), and is a graduate of the University of Manitoba (M.Mus 2014) and the University of British Columbia (B.Mus 2012). She continues to study under her long-time teacher and mentor, Canadian coloratura soprano Tracy Dahl.
Updated February 2023.
Video
Giulietta in “Belle nuit, ô nuit d’amour” from Offenbach’s Les contes d’Hoffmann at San Francisco Opera.
“Je dis que rien ne m’épouvante” from Bizet’s Carmen
“Scoglio d’immota fronte” from Handel’s Scipione
“Quanti mi siete intorno…Pafde, germani, addio” from Mozart’s Idomeneo
“Ah! Je veux vivre” from Gounod’s Roméo et Juliette
“Qual vita e questa mai…Che fiero momento” from Gluck’s Orfeo ed Euridice
“No Word From Tom” from Stravinsky’s The Rake’s Progress
Pictures
Press
"The clarion call of a famous diva at the beginning of her career" – Janos Gereben, San Francisco Classical Voice
Adler Fellows in Concert: The Future is Now, 2022 – “The exceptional purity and power of young voices resounded at Friday’s “Adler Fellows in Concert: the Future Is Now” performance in Herbst Theatre. The very first of the 2022 Adler Fellows to sing, Canadian soprano Anne-Marie MacIntosh, realized the promise both in performance and accomplishment. While all “graduates” of San Francisco Opera’s top-level training program are expected to star soon at major opera houses, MacIntosh had done that the night before. She appeared at the War Memorial as Eurydice in Christoph Willibald Gluck’s Orpheus and Eurydice, called shortly before the performance […]. Adding to the acclaim received Thursday night, MacIntosh’s opening aria at the Friday recital, “Scoglio d’immota fronte” (Like a rock unmoved) from Handel’s Scipione, sounded like the clarion call of a famous diva at the beginning of her career … In the concert-closing ensemble from Jacques Offenbach’s The Tales of Hoffmann, Egerstrom and mezzo-soprano Gabrielle Beteag supported MacIntosh in yet another triumph, as Antonia singing “Tu ne chanteras plus” (You will not sing anymore).”
“A superb performance […] tender and reflective in the slow cavatina, vividly athletic in the ensuing cabaletta…” – Joshua Kosman, San Francisco Chronicle
Adler Fellows in Concert: The Future is Now, 2021 – “Soprano Anne-Marie MacIntosh delivered a superb performance of Anne Trulove’s scene from Act 1 of Stravinsky’s “The Rake’s Progress” — tender and reflective in the slow cavatina, vividly athletic in the ensuing cabaletta with its vertiginous leap to a final high C.”
"Every bit the anchor of the opera" – James Sohre, Opera Today
Merola Opera's Diana, If I Were You – “From her first naive conversational lines to the chilling simplicity of her final phrases, soprano Anne-Marie MacIntosh was engaging and proved to be every bit the anchor of the opera. Ms. MacIntosh has a seamless technique, attractive lyric timbre, and an admirable evenness through her extensive range. When the tension gets churning, and the orchestra ramps up the stakes, this accomplished singer can ride the moment with ease, hurling out ever ascending phrases of spine-chilling power and beauty. There is nothing in this role that eludes her; and her attractive, easy stage deportment makes it totally believable that Fabian would be smitten with her. Ms. MacIntosh and Ms. Blankenship have defined these roles for me and have set the bar very high indeed.”
"A highly commendable performance" – Kenneth DeLong, Calgary Herald
Calgary Opera's Romeo et Juliette – “Her voice is certainly the right type for the role: high, fundamentally lyrical, and with a noticeable brilliance in the top register. Her flitting around the stage projected the elements that Juliet needs to show, and vocally she managed the famous waltz aria in the first act with French charm … this was a highly commendable performance, her portrayal of Juliet girlish and graceful, but also containing inner fire.”