Anne Marie Gibbons

Mezzo-soprano

"Anne Marie Gibbons displayed some dazzling coloratura and a very impressive technique throughout."

Faye Courtney Opera Britannia

"Anne Marie Gibbons was an outstanding Ariodante, whether fiery in coloratura, sharing in a ravishing love-duet with Rachel Nicholls… or lamenting in a memorably beautiful Love undying"

Christopher Morely Birmingham Post

"I like the Ariodante of Anne Marie Gibbons a lot. She looks like an Octavian in the making"

Mike Reynolds Musicalcriticism.com

"Her light, bright and pure-sounding timbre is perfectly suited to Handel and she is a wonderfully expressive artist"

Faye Courtney Opera Britannia

"Among the principals [Anne Marie Gibbons] stood out ... as a powerful Widow Begbick."

Ian Fox Opera

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Irish mezzo-soprano Anne Marie Gibbons recently made her debut at the Royal Opera House, Covent Garden, as Begbick The Rise and Fall of the City of Mahagonny and was immediately re-invited for two productions. In 2016/17 she will sing the role of Camille in Thomas Ades’ new work The Exterminating Angel.

Last season’s credits include Prokofiev’s Alexander Nevsky with the RTÉ National Symphony Orchestra, Suzuki Madama Butterfly and The Armed Man with the RTÉ Concert Orchestra, Mahler’s Eighth Symphony with the Norwich Philharmonic Orchestra and Mozart’s Requiem at the National Concert Hall in Dublin.
As Company Principal at English National Opera roles included Dorabella Cosi fan tutte, Flora La Traviata, Ino Semele, Nero Agrippina and Annio La Clemenza di Tito with conductors including Edward Gardner, Mark Wigglesworth, David Parry, Daniel Reuss, Jonathan Darlington, Laurence Cummings and Johannes Debus.

This biography is for information only and should not be reproduced.

Lola (Cavalleria rusticana, Mascagni), RTE National Symphony Orchestra

May 2015

The smaller roles were well-cast with ... Anne Marie Gibbons (Lola).

Michael Dungan, The Irish Times

Begbick The Rise and Fall of the City of Mahagonny, Rough Magic / Opera Theatre Company

Olympia Theatre Dublin (June 2014)

Anne Marie Gibbons is also totally sure as the manipulative Begbick.

Michael Dervan, The Irish Times

Among the principals, Claudia Boyle stood out as a sensuous Jenny, as did Anne Marie Gibbons as a powerful Widow Begbick.

Ian Fox, Opera

John Molloy and Anne Marie Gibbons are also particularly impressive as the founding criminals of the new city of depravity, Trinity Moses and Begbick.

Emer O’Kelly, The Irish Independent

The fruity mezzo of Anne Marie Gibbons makes such a punchy impact as the opportunistic Begbick that you regret the character progressively fading from the libretto as the plot develops.

Terry Blain, bachtrack.com

David (Saul), Buxton Festival

(July 2011)

Most impressive of the cast was Anne Marie Gibbons, a stunning David, who used her burnished lower register to convey significant emotional depth as the young man experiences fresh hopes, passions and fears.

Claire Seymour, Opera Today

an accomplished line-up of solo singers, among whom Anne-Marie Gibbons (David) and Robert Murray (Jonathan) shone brightest.

Rupert Christiansen, The Telegraph

[David is] an irresistibly androgynous hero in Anne Marie Gibbons’s mezzo, strong and sure of focus.

Hilary Finch, The Times

[it is] an impeccable cast, among whom Anne Marie Gibbons’s David is outstanding

Christopher Gray, The Oxford Times

Gibbons is good

Tim Ashley, The Guardian

Messiah, Handel

December 2010

The occasion was especially memorable for the radiant singing of the mezzo-soprano Anne Marie Gibbons who, although heavily pregnant, was standing in at short notice for an indisposed German soloist.

Liam McAuley, The Irish Times

Milady (Fra Diavolo, Auber), Stanley Hall Opera

June 2009

Anne Marie Gibbons as Milady proved to be a good singing actress: her musical attack is neat and precise and far from the pantomime dame of the Munich production, she was elegant and spirited

Mike Reynolds, musicalcriticism.com

Ariodante (Ariodante, Handel), English Touring Opera

October 2009

Anne Marie Gibbons was an outstanding Ariodante, whether fiery in coloratura, sharing in a ravishing love-duet with Rachel Nicholls …, or lamenting in a memorably beautiful Love undying.

Christopher Morley, Birmingham Post

I liked the Ariodante of Anne Marie Gibbons a lot. She looks like an Octavian in the making, sings with little vibrato, a pure register and an enviable technique in the coloratura passages that litter the role. Breath control was exemplary…Her sound was fresh and attractive and she did not put a foot wrong…

Mike Reynolds, Musicalcriticism.com

Anne Marie Gibbons displayed some dazzling coloratura and a very impressive technique throughout. Her light, bright and pure-sounding timbre is perfectly suited to Handel and she is a wonderfully expressive artist

Opera Britannia

Anna (Maria Stuarda, Donizetti), Chelsea Opera Group

November 2007

It was left up to Philippe Fourcade as Cecil and Anne Marie Gibbons, as Anna to sing with style and accuracy…

Anna (Maria Stuarda, Donizetti), Chelsea Opera Group

Annio (La Clemenza di Tito, Mozart), English National Opera,

June 2007

Anne Marie Gibbons, as the gentle but brave young man Annio, gave a stylish and highly enjoyable performance.

Agnes Kory, musicalcriticism.com

Anne Marie Gibbons Concert Repertoire

Bach Christmas Oratorio
Magnificat
St Matthew Passion
Beethoven Mass in C
Ninth Symphony
Dvorak Mass in D
Handel Juda Maccabbeus
Messiah
Mahler Symphony No. 8
Mozart Coronation Mass
Requiem
Mendelssohn Elijah
Prokofiev Alexander Nevsky
Rossini Petite Messe Solenelle
Vivaldi Gloria
Verdi Requiem
Jenkins The Armed Man

Anne Marie Gibbons Opera Repertoire

Berlioz The Trojans at Carthage (Anna)
The Trojans (Ascanius)
Donizetti Maria Stuarda
Eötvös As I Crossed the Bridge of Dreams
Gilbert & Sullivan The Mikado (Pitti-Sing)
Glass Satyagraha (Kasturbai)
Handel Agrippina (Nero)
Ariodante (title role)
Partenope (Rosmira)
Saul (David)
Semele (Ino)
Mascagni Cavalleria rusticana (Lola)
Mozart Cosi fan Tutte (Dorabella)
La Clemenza di Tito (Annio)
Die Zauberflote (Second Lady)
Offenbach La Belle Helene (Bacchis)
Poulenc Dialogues of the Carmelites (Sister Mathilde)
Puccini Madama Butterfly (Suzuki)
Rossini La cenerentola (title role)
La Gazza Ladra (Pippo)
Strauss Salome (Page)
Verdi La Traviata (Flora)
Weill Rise and Fall of the City Mahagonny (Widow Begbick)

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