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ANNE-MARIE MACINTOSH

SOPRANO

BIOGRAPHY

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 (Don Giovanni), Berta (Il barbiere di Siviglia), Annina (La Traviata), and Euridice (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.”


Engagements for this season include Handel’s Messiahwith the Winnipeg Symphony. Last season, Anne-Marie made her role début as Violetta in La Traviata with Brott Opera. Additionally, she débuted as Micäela in Carmen with Opera San José and joined San Diego Opera as the cover for Juliette in Roméo et Juliette. She was no stranger to the role, as she had made her début as Juliette in 2018 with Calgary Opera. [read more...]

CRITICAL ACCLAIM


"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).”

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“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.”

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"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.”

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"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.”

REPRESENTATIVES

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