EMILY TREIGLE
MEZZO-SOPRANO
BIOGRAPHY
A New Orleans native and Grand Finals Winner of the Metropolitan Opera Laffont Competition, mezzo-soprano Emily Treigle is regarded as "endlessly watchable and a consummate musician."
In Spring 2025, Treigle will make her international debut with the Canadian Opera Company as Filipyevna in Eugene Onegin and Lucia in Cavalleria Rusticana. This Summer, she will be attending the Académie at Festival d’Aix en Provence in France. In the 2025-2026 season, Treigle will be making many company and role debuts, including: Second Lady in the holiday presentation of The Magic Flute at The Metropolitan Opera; La Ciesca in Gianni Schicchi and The Monitress in Suor Angelica at Houston Grand Opera; Mère Marie in Dialogues des Carmélites at New Orleans Opera, and reprising the role of Despina in Così fan tutte at Madison Opera.
In 2024, after being named a winner of the George and Nora London Foundation Competition, she returned to Wolf Trap Opera for the 2024 season, performing Despina in Così fan tutte, where she was praised for her “uncanny sense of comedic timing” and “magnificent voice.” In the previous season with Wolf Trap Opera, she displayed her “acting range [as] impressive as her vocal one” as Juno/Ino in Semele.
READ MORE
An alumna of the Houston Grand Opera Butler Studio, Treigle performed numerous roles with the company including: Meg Page in Falstaff, Suzuki in Madama Butterfly, Flora in La traviata, Miss Violet in the world premiere of Another City, Mère Jeanne in Dialogues of the Carmelites, and Gertrude in Romeo and Juliet. She also covered the roles of Donna Elvira in Don Giovanni, Marcellina in Le nozze di Figaro, and Herodias in Salome. She made her first guest appearance with the company in Fall 2024 as Tisbe in La Cenerentola.
An undeniable legacy, Emily’s grandfather was world-renowned bass-baritone Norman Treigle.
Current as of April 18, 2025
CRITICAL ACCLAIM
“Treigle is a key part of this production’s success..." – The Washington Post
Così fan tutte – “My favorite performance of the night was mezzo-soprano Emily Treigle as meddlesome maid Despina, rendered here as a lovably troublesome and vaguely goth pot-stirrer. Her splendid and spirited “In uomini, in soldati” felt emblematic of the entire show’s likable vibe, as well as her magnificent voice, which the comic calling of the role never managed to shrink. (She did, however, dispose entirely of proper diction when disguised as the notary, to perfectly hilarious effect.) A fabulous singer (she’s a grand finals winner of the 2021 Metropolitan Opera Laffont Competition) and a fine actress, Treigle is a key part of this production’s success.”
__________
"...Treigle’s acting range is as impressive as her vocal one..." – DC Theater Arts
Semele – “The music is undoubtedly gorgeous, but it is the performances that make this story so enjoyable, particularly that of Treigle. Treigle’s acting range is as impressive as her vocal one. As Ino, Treigle is a sweet, awkward schoolgirl, but her turn as Juno is a bewitching and impassioned tempest come alive. Her distinct performances as Ino and Juno paired with Tonea’s Semele offer a powerful look at the different ways women have long battled the demands of sex, love, power, and self.”
__________
"...Emily Treigle, she, too, of the creamy voice..." – Houston Press
Falstaff – “Mezzo-soprano Emily Treigle, she, too, of the creamy voice, is a lively Meg Page, one of the co-conspirators. She practically bounces across the stage when the wives hatch their comic plot.”
__________
“…She sang well with substance and power, good projection and excellent phrasing…” – Opera News
Così fan tutte – “Emily Treigle as Despina displayed an uncanny sense of comedic timing. She was sneakily flippant and conniving, but not calculating, which made her particularly interesting. She sang well with substance and power, good projection and excellent phrasing.”
REPRESENTATIVES
General