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. The 2024-2025 season is a busy one for Ms. Habersham. She returns to Minnesota Opera as Juliette in Romeo et Juliette, sings Ashley in Mazzoli/Vavrek’s The Listeners at Lyric Opera of Chicago, originates the lead role of Claudette Colvin in the world premiere of Barnes/Mouton’s She Who Dared, and joins Florida Grand Opera as Adina in L’elisir d’amore. On the concert stage, Ms. Habersham makes several débuts - 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, and with Alabama Symphony Orchestra in Knoxville: Summer of 1915.
In the 2023-2024 season, Ms. Habersham made her role début as Juliette in Roméo et Juliette with Opera San Jose. She then reprised 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 was seen in concert with multiple orchestras: the Fresno Philharmonic for Mahler’s 4th Symphony, the Baltimore Symphony 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.
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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