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American soprano Jasmine Habersham is a versatile and dynamic performing artist whose voice has been hailed as “exquisite” by Broadway World and possessing a “well-controlled, silvery tone [with] an alluring presence” by Opera Today. Last season, she returned to Minnesota Opera as Sarah Ruth in Edward Tulane, performed with the Rochester Philharmonic, the Dallas Symphony, and sang Barber’s Knoxville: Summer of 1915 with the Mercer-Macon Symphony, débuted as Sophie in Werther with Houston Grand Opera, brought her celebrated Gilda in Rigoletto to Utah Opera, made her role début as Susanna in Le nozze di Figaro with Madison Opera, and returned to The Glimmerglass Festival as Almirena in Rinaldo. Habersham embarks on an exciting 2023-2024 season making her role début as Juliette in Roméo et Juliette with Opera San Jose. She then reprises her Gilda in Rigoletto in her return to Atlanta Opera, sings Frasquita in Carmen in her début with the Gran Teatre del Liceu in Barcelona, takes her Pamina in Die Zauberflöte to Nashville Opera, and joins Central City Opera as Mabel in The Pirates of Penzance. Additionally, she is in concert with multiple orchestras: the Fresno Philharmonic for Mahler’s 4th Symphony, the Baltimore Symphony for Carmina burana, and Symphoria for a concert of operatic excerpts. [read more...]


"... Habersham’s soaring lyricism..." – The Reviews Hub

Rigoletto– “Jasmine Habersham’s soaring lyricism – plus her ability to cut across the orchestra in the mighty Act 3 trio – makes a huge impression and, as Gilda, she overcomes some unfortunate costume choices. . . Also in Act 1 Caro nome, if a touch over-theatrical in presentation, gives the first indication of American soprano Jasmine Habersham’s artistry."


“... pure youthful ebullience…” – Houston Chronicle

Werther – “Lighthearted moments in “Werther” come at a premium, but they do exist: in soprano Jasmine Habersham as Charlotte’s younger sister Sophie, whose pure youthful ebullience at times seems like she could single-handedly vanquish the growing romantic angst around her."


"... lustrous, emotional tone…” – Opera News

Holy Ground – “Lyric-coloratura Jasmine Habersham did a wonderful job expressing the doubts and yearnings of Mary (candidate #490) and also encompassing her wide-ranging vocal part in lustrous, emotional tone.”


"... an elegant impression..." – Opera News

Giulio Cesare – “Soprano Jasmine Habersham, a local favorite and capable soprano, made an elegant impression with her lightly ornamented delivery of Cleopatra’s “V’adoro pupille” at the close of Act I.”


"... Habersham sparkled both visually and vocally..." – Seen and Heard International

Falstaff – “As Nannetta, Jasmine Habersham sparkled both visually and vocally. Over and over again, the promising young soprano floated beautiful high notes effortlessly. Habersham too can command the stage, as she proved in the final scene when summoning the fairies, goblins and witches to torment Falstaff.”


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