JASMINE HABERSHAM
SOPRANO
BIOGRAPHY
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. In the 2025-2026 season, Ms. Habersham is pleased to return to Lyric Opera of Chicago for Carmina Burana under the baton of Mo. Enrique Mazzola, following her Chicago début as Ashley in Mazzoli/Vavrek’s The Listeners, dubbed a “standout performance” by Chicago’s Splash Magazine. Also this season, she débuts as Musetta at Austin Opera, returns to Dallas Symphony for their wildly popular Holiday Pops program, returns to Rochester Philharmonic for Mahler’s Fourth Symphony, débuts with Phoenix Symphony as featured soloist in their Holiday Pops program, and gives recitals at the Warner-Robbins Community Concert Association, Fabian Concert Series, and Macon Concert Association.
Ms. Habersham’s 2024-2025 season saw her return to Minnesota Opera as Juliette in Roméo et Juliette, which is quickly becoming one of her signature roles. With Chicago Opera Theatre, she originated the lead role of Claudette Colvin in the world premiere of Barnes/Mouton’s She Who Dared to unanimous acclaim. The Chicago Tribune raved, “Habersham’s explosive, easily combustible soprano captures Colvin’s fire,” while Musical America observed, “Habersham’s clarion soprano perfectly captured the girl’s fiery impatience for righteous battle… Mouton also gives Claudette a touching aria and Habersham sang it with ruefully soft edge.” Additionally, she shone as Adina in L’elisir d’amore with Florida Grand Opera, and made several débuts on the concert stage - with Kansas City Symphony as soprano soloist in Handel’s Messiah, with Savannah Philharmonic in Beethoven’s Ninth Symphony, with Fort Worth Symphony in their Holiday Concert, with Alabama Symphony Orchestra in Knoxville: Summer of 1915, and with Charleston Opera Theatre for their Serenata Romantica program.
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In the 2023-2024 season, Ms. Habersham made her role début as Juliette in Roméo et Juliette with Opera San Jose. She then reprised Gilda in Rigoletto in her return to The Atlanta Opera, sang Frasquita in Carmen in her début with the Gran Teatre del Liceu in Barcelona, took her Pamina in Die Zauberflöte to Nashville Opera, and joined Central City Opera as Mabel in The Pirates of Penzance. Additionally, she was seen in concert with multiple orchestras: the Fresno Philharmonic for Mahler’s Fourth Symphony, the Baltimore Symphony and Virginia Symphony Orchestra for Carmina Burana, and Syracuse Orchestra for a concert of operatic excerpts. In the previous 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.
In recent seasons, she returned to The Atlanta Opera for her role début as Cleopatra in Giulio Cesare, made her company début with Opera North (UK) as Gilda in Rigoletto, appeared as The Dew Fairy in Hansel and Gretel with Rochester Philharmonic Orchestra, returned to Madison Opera for her role début Euridice in Orpheus in the Underworld, and joined The Glimmerglass Festival as Mimi in Tenor Overboard and Mary in Holy Ground. Additionally, she has performed in Opera in the Park Online with Madison Opera, performed as a Company Player with The Atlanta Opera as The Girl in Der Kaiser von Atlantis and Micaëla in Threepenny Carmen, made her début with Seattle Opera as Zerlina in Don Giovanni, and sang Nannetta in Falstaff with Berkshire Opera.
Other notable engagements include Pip in Moby-Dick with Opera San Jose and Utah Opera, Katie Jackson in the world premiere of Joel Puckett’s The Fix with Minnesota Opera, Clara in Porgy and Bess with the Baltimore Symphony Orchestra, Adina in L’elisir d’amore with the Phoenicia International Festival of the Voice, Pamina in The Magic Flute with Opera Theatre of St. Louis: Opera on the Go, Papagena in Die Zauberflöte with Cincinnati Opera, Yum-Yum in the The Mikado with Kentucky Opera, Esther in Intimate Apparel with Cincinnati Opera Fusion, and Clara in Porgy and Bess with Utah Festival Opera.
A finalist in the Lotte Lenya Competition, Ms. Habersham has won numerous awards including 2nd Place in the 2018 Southeast Regional Metropolitan Opera National Council Auditions, The Strauss Award in the National Orpheus Competition, the John Alexander Memorial Award from University of Cincinnati College-Conservatory of Music, and the Young Artist Guild Award from Central City Opera.
Ms. Habersham trained at several esteemed young artists programs including with The Glimmerglass Festival, Central City Opera, Kentucky Opera, and the Brevard Music Center. She received her Bachelor of Music degree in Vocal Performance at Shorter College and her Master of Music and Artist Diploma from the University of Cincinnati College-Conservatory of Music.
Current as of July 23, 2025
CRITICAL ACCLAIM
"... 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."
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“... 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."
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"... 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.”
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"... 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.”
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"... 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.”
REPRESENTATIVES
General