Jasmine Habersham : Creating the Road Less Traveled
At first glance, Jasmine Habersham might seem to onlookers as a classical vocalist who has followed a well worn path. But as one begins to peel back the layers of the soprano called “magnificent” by the San Francisco Chronicle, “memorable” by Twin Cities Arts, and “exquisite” by Broadway World, they’re likely to find an intriguing reminder that no two roads are ever alike.
And that’s OK, Habersham believes.
“I think the key thing is that I took it upon myself to create opportunities,” she says. “If I wasn’t getting what I needed in terms of lessons, coachings, language classes, and performance opportunities, I made sure I found my way to them. In a way, I think what I’ve created is a professional experience that is unique to me and on my own terms—of course, having a lot of support from my family in those early years. That’s forced me to know a lot about myself as an artist. Some things have been right for me. Others, not so much. But it has allowed me to play with things and find my way in having a chance to do what I wanted to do, how I wanted to do it.”
At 33, and only about five years into her professional career, Habersham has crafted an impressive resume. She is a graduate of Shorter College in Rome, Georgia, where she received her bachelor’s degree in vocal performance, as well as the University of Cincinnati College-Conservatory of Music, where she earned her master’s degree and artist diploma.
Thus far, her career highlights include championing a roster of new operatic works, such as Katie Jackson in Joel Puckett and Eric Simonson’s The Fix with Minnesota Opera and Mariola in Jake Heggie and Gene Scheer’s Out of Darkness: Two Remain with Atlanta Opera. Recently, she also made a return to the Glimmerglass Festival to tack on two more world premiere operas, including as Mimi in Gioachino Rossini and Ken Ludwig’s Tenor Overboard and as Mary in Damien Geter and Lila Palmer’s Holy Ground.
Additional, and more familiar roles have included Zerlina in Don Giovanni, Nannetta in Falstaff, Bubikopf in Der Kaiser von Atlantis, Micaela in The Threepenny Opera, Pip in Moby Dick, Clara in Porgy and Bess, Adina in L’elisir d’amore, Pamina and Papagena in The Magic Flute, Yum Yum in The Mikado, Esther in Intimate Apparel, Cleopatra in Giulio Cesare, Dew Fairy/Sandman in Hansel and Gretel, and Eurydice in Orpheus in the Underworld.
Beyond her work in opera, she also has been a featured soloist for numerous concert works and is a decorated competitor, having received a silver medal for the 2020 American Traditions Competition, second place for the 2018 Southeast Regional Metropolitan Opera National Council Auditions, the Strauss Award from the National Orpheus Competition, and the Young Artist Guild Award from Central City Opera, among others.
However, it was her grassroots work in her hometown of Macon, Georgia, that would set her on the path she ultimately would choose in classical singing.
Deep Roots in Music
Habersham was born into a musical family. . .