LISA MARIE ROGALI
MEZZO-SOPRANO
BIOGRAPHY
Award-winning American mezzo-soprano Lisa Marie Rogali has been praised for her “nuanced voice” and “spontaneity” on the stage. Opera News described her début performance with Minnesota Opera as “…a tour de force of diction, precision and pizzazz.” Ms. Rogali is quickly establishing herself as a versatile performer of opera and musical theatre as well as contemporary and concert music.
This season, Ms. Rogali joins Detroit Opera’s Resident Artist Program, singing the roles of Kate Pinkerton in Madama Butterfly, Lapak in The Cunning Little Vixen, and covering Dodo in Breaking the Waves. She will also make her role début as Rosina in Il barbiere di Siviglia with North Carolina Opera.
Last season, Ms. Rogali débuted the roles of Princess/Lucy/Fancy Doll #1 in the world premiere of Edward Tulane with Minnesota Opera. She also performed her first Hansel in Opera Birmingham’s production of Hansel and Gretel this spring. On the concert stage, she was featured as the alto soloist in Handel’s Messiah with the Naples Philharmonic, as well as Mozart’s Requiem with The Masterwork Chorus. Additionally, she performed Mahler’s Lieder eines fahrenden Gesellen with Williamsport Symphony Orchestra as part of their “Love & Romance” concert. Additionally, she returned to The Glimmerglass Festival to sing Stéphano in Roméo et Juliette and Paquette in Candide. [read more...]
CRITICAL ACCLAIM
"...thoroughly charming..." – Opera News
La rondine – "The standout among the other cast members was Lisa Marie Rogali, who was a fizzy, thoroughly charming Lisette from the opening party scene to her chastened return to Magda's household at the end. Her Act I rouser, "Un momento, scusi ecco," is a tour de force of diction, precision and pizzazz."
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"... a true mezzo sound..." – Voce di Meche
Gala Concert – “Mezzo-soprano Lisa Rogali has a true mezzo sound that was just right for Rosina's aria "Una voce poco fa" from Rossini's Il barbiere di Siviglia. We heard some more than usually interesting embellishments of the vocal line, all successfully negotiated.”
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"... sparkled with spontaneity and was sung vibrantly..." – Minnesota Star Tribune
La rondine – “Lisa Marie Rogali’s mischievous Lisette sparkled with spontaneity and was sung vibrantly. Beside her the Prunier of Christian Sanders cut a raffish figure, and their interplay lit the stage in its three-dimensionality.”
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"... Rogali as Lisette was enchanting..." – Schmopera
La rondine – “Newcomer and very recent graduate of University of Cincinnati's College Conservatory Lisa Marie Rogali as Lisette was enchanting. Her demeanor bold and sassy, she got the most laughs of the night. Prunier was sung by Christian Sanders. The two had great chemistry and added some sparks to the night.”
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"... Rogali makes each aria transporting..." – Pioneer Press
The Italian Straw Hat – “While it would seem there’s no time for showstoppers in a show of this pace, Lisa Marie Rogali comes pretty darn close. As the bride experiencing a confounding itinerant wedding reception, she must periodically pause to ponder her commitment to this man, and Rota gives her the opera’s most beautiful music to do it. Rogali makes each aria transporting, her pure, nuanced soprano voice touching hearts while the rest of the opera tickles your funny bone.”
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"... Lisa Marie Rogali sings sweetly..." – Talkin’ Broadway
The Italian Straw Hat – “As the bride, made to traipse all about Paris after her hat-seeking husband, Lisa Marie Rogali sings sweetly, her soprano rising to convey her love for Fadinard. She does a fine job expressing her conflicted emotions between romantic love and the ordeal of her run-amok wedding day.”
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"... clean mastery of the sprightly yet demanding vocal lines..." – Broadway World
Zémire et Azor – “Two members of the Opera Saratoga Young Artist Program, soprano Lisa Rogali and mezzo-soprano Katherine Maysek, played, respectively, Sanders’ two other daughters, the vain and flighty Fatme and Lisbe. Both performers offered pert, preening delight and evinced clean mastery of the sprightly yet demanding vocal lines with which Grétry’s score tasks them.”