Erica Brookhyser is represented by Rayfield Allied worldwide.

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Erica Brookhyser


  • Erica Brookhyser sings marvellously. The duet between the entwined Aeneas and Dido is a glorious antiphonal idyll.
    Bernhard Uske, Frankfurter Runschau
  • The Muse has a lot to say and sing in this production. And that is fortunate, for Erica Brookhyser is the strongest singer of the evening.
    Johannes Breckner, Darmstädter Echo Zeitung
  • Erica Brookhyser gave an enthralling theatrical and musical performance of Dido. With a bright-timbred mezzo and powerful gleaming high notes, she colored her role with a variety emotional shadings.
    Manfred Langer, Der Opernfreund
  • Erica Brookhyser is once again brilliant. In a superb musical and dramatic interpretation, she embodies Dido's gentleness as well as her revengefulness.
    Thomas Wolff, Darmstädter Echo
  • Sung nearly to perfection: The American Erica Brookhyser sings the large role of Orfeo.
    Eckhard Britsch,
  • A huge ovation at the final curtain for Erica Brookhyser: with a keen dramatic sensibility and a full earthy alto
    Thomas Wolff, Darmstädter Echo Zeitung
  • American mezzo, Erica Brookhyser, appeared last season with Opera Colorado in the role of Suzuki Madama Butterfly.  She made her role debut as Brigitta Die Tote Stadt in concert with Boston’s Odyssey Opera, and joined them again as the soloist in Britten’s monodrama Phaedra.

    Recent successes include her appearance in concert and on recording with the Boston Modern Orchestra Project as the alto soloist in Paul Moravec’s Blizzard Voices. She returned to her native Pacific Northwest in the St. John Passion with the Astoria Music Festival.  She made her debut with the Los Angeles Philharmonic in La Traviata, Aninna.

    Recent successes include her return to Los Angeles Opera as Meg Page Falstaff, and song recitals with the Newport Symphony.  At Spoleto Festival USA her performance in a fully-staged production of El Niño by John Adams garnered excellent notices.  She was much acclaimed for her role debut as Brangäne Tristan und Isolde with Staatstheater Darmstadt where she remained principal mezzo for four years.

    A major European highlight of Erica’s career came when in 2012 she won “Open Opera: Who will become Carmen?” a reality talent-search television show broadcast on ARTE-TV. The series, which aired in Germany and France, followed artists as they auditioned for the title role and prepared for the production, with music in the original French and dialogue in German. Erica’s live performances as Carmen took place at the Berlin Seefestspiele.

    • Mahler Rückert-Lieder, Newport Symphony Orchestra
      January 2016

      Erica Brookhyser, the star in question, is impossible not to admire….The dark chocolaty voice with that tinge of astringency that the melancholic Mahler requires. She effortlessly pierced his densest textures, and surfed the cresting orchestral waves with the thrilling brilliance of her upper register.
      Brian Hanna, Newport News Times, 3 February 2016
    • First Monday at Jordan Hall, New England Conservatory (alumni performance)
      September 2015

      Mezzo-soprano Erica Brookhyser cut deep with a devastatingly beautiful “Wohl schön bewandt war es,” her dark crimson tone making even Daumer’s maudlin poetry sound poignant and beautiful.
      Zoe Madonna, Classical Scene, 7 October 2015
    • Odyssey Opera, Phaedra
      May 2015

      On Saturday, in a dramatically taut and tonally lustrous performance, the mezzo Erica Brookhyser impressively conveyed her character’s contrite wrestling with intractable passions (her love for her stepson Hippolytus), and more broadly, the sense of tragic grandeur that radiates from this brief score.
      Jeremy Eichler, Boston Globe
      Mezzo soprano Erica Brookhyser proved an exceptionally able singing actress, navigating adeptly among several inner monologues, an address to Hippolytus, and another to Theseus. ... Though the frenzied address to Hippolytus was the peak of excitement, the most moving passage for me was Phaedra’s final speech to the king. In parallel to her contradictory description of the poison’s action, “chills already dart along my boiling veins and squeeze my heart,” Brookhyser made us see her turmoil as she confessed, yet never lost her nobility.
      Geoffrey Wieting, The Boston Musical Intelligencer
    • Madama Butterfly, Colorado Opera
      November 2014

      Some of the most poignant moments are delivered by mezzo-soprano Erica Brookhyser as Butterfly's faithful maid Suzuki. She is glorious in the "flower duet" with Butterfly, and heartbreaking in the latter moments. It is she whose experience of the awful truth about Pinkerton's return determines the audience's reaction to it, and Brookhyser plays it brilliantly.
      Kelly Dean Hanson, Daily Camera
      Also singing with great emotion is mezzo Erica Brookhyser as the faithful maid Suzuki.
      Claudia Carbon, Examiner
      Erica Brookhyser’s role as Suzuki is truly a mezzo soprano, and that is Erica Brookhyser. I have attended many operas in my time, and I was startled by the beauty of Erica Brookhyser’s voice.
      Robin McNeil, Opus Colorado
      ...the Suzuki of Erica Brookhyser, similarly in touch with her character’s humanity, while displaying a finely-shaded mezzo
      Marc Shulgold, Opera March 2015
    • Die tote Stadt, Odyssey Opera
      September 2014

      Mezzo-soprano Erica Brookhyser sang it feelingly in a clear, bell-toned voice, phrasing naturally yet also dealing easily with sudden leaps in the melody.
      David Wright, Boston Classical Review
      Erica Brookhyser had excellence to spare in the smaller role of Brigitta, Paul’s housekeeper.
      Jeremy Eichler, Boston Globe
      Erica Brookyhyser, as Paul’s faithful old housekeeper, wore housekeeper brown, but this did not disguise the glamour of her smooth, sizable mezzo.
      John Yohalem, Parterre Box
      In the ... role of Brigitta, Erica Brookhyser brought warmth of tone and a sobering presence.
      Jonathan Blumhofer, Arts Fuse
      As Brigitta, American mezzo Erica Brookhyser, who has sung extensively in Germany, ... sang with measure as a maid but also with feeling. Her voice soared touchingly in an early scene, when she sang, underscoring her ideal as a servant, “And where love is/I am glad to serve."
      David Bonetti, Berkshire Fine Arts
    • El Niño, Spoleto Festival USA
      May 2014

      Caitlin Lynch, Erica Brookhyser and Mark Walters are outstanding as the principal vocal soloists.
      George Loomis, Financial Times
      Equally impressive were the three soloists, whose roles were changing throughout the piece, advancing the plot most of the time, with a few select arioso moments. Mezzo-soprano Erica Brookhyser was a revelation, a powerful presence with control, depth and extreme dynamic and expressive range.
      Yiorgos Vassilandonakis, The Post and Courier
      Bible characters were given voice by excellent soloists--Caitlin Lynch, soprano; Erica Brookhyser, mezzo-soprano; and Mark Walters, baritone.
      James Oestreich, New York Times
      The soloists were uniformaly excellent. Soprano Caitlin Lynch and mezzo Erica Brookhyser both own marvelous instruments, and both covered huge ranges of vocal and emotional expression.
      Charleston City Paper
    • Falstaff, Los Angeles Opera
      November 2013

      Erica Brookhyser as Meg, and Ronnita Nicole Miller as Quickly were all strong individually; but together their voices blended beautifully. Their acting was also charming.
      Opera Magazine
      The two wives, played by Erica Brookhyser and Carmen Giannattasio are musically charming, the young lovers are sweet
      Huffington Post
      As the merry wives, Carmen Giannattasio (Alice Ford), Erica Brookhyser (Meg Page), Ronnita Nicole Miller (Mistress Quickly), and Ekaterina Sadovnikova (Nannetta) proved an impressive and adorable quartet.
      Jane Rosenberg, Seen and Heard international
      Soprano Carmen Giannattasio (Alice) and mezzo-soprano Erica Brookhyser (Meg) are sprightly as the scheming objects of Falstaff's attention.
      Mark Swed, LA Times
    • Les Contes d’Hoffmann, Staatstheater Darmstadt
      April/ May 2012

      The sympathies of the public definitely belonged to Erica Brookhyser, who portrayed an elegant Niklas with boyish, cheeky mezzo, as well as a selfishly loving Muse, who uses all means possible to win over her poet and at the right moment also pulls out her vocal claws.
      Steffan Meder, Main-Echo Zeitung
      Marvelous in both voice and physicality was the Friend-Muse "Niklas" by Erica Brookhyser.
      Bernhard Uske, Frankfurter Rundschau
      The main character, however, turns out to be surprisingly Niklas (appearing as the Muse in the Prologue and Epilogue), Hoffmann's companion. This is due to this version [...] and on the flexible, natural and expressive singing of Erica Brookhyser. The audience thanked her with the strongest ovation.
      Andreas Bomba, Frankfurter Neue Presse
    • Orfee et Euridice, Staatstheater Darmstadt
      January/ February 2012

      In the central role of Orfeo, Erica Brookhyser's mezzo-soprano is capable of taking on almost androgynously dark colours, while still sounding fresh, agile and luminescent.
      Axel Zibulski, Rhein-Mein Allgemeine Zeitung
      Particularly captivating was the freshness and grace of Erica Brookhyser, which she conveys not only through her singing, but also through her dancer's bearing in this role. She endowed Orfeo with memorable gestures, singing with the whole body lying down and in lifts and turns.
      Eva-Maria Magel, Frankfurter Allgemeine Zeitung
    • Nabucco, Staatstheater Darmstadt
      October 2011/ January 2012

      Erica Brookhyser shone for her cultivated lyrical tone as Abigaille's half-sister Fenena.
      Johannes Breckner, Darmstädter Echo Zeitung
      Erica Brookhyser (Fenena) offers touching lyricism.
      Andreas Bomba, Frankfurter Neue Presse
      Of the soloists, Fenena (Erica Brookhyser) and Abigaille (Katrin Gerstenberger) leave strong impressions.
      Bernhard Uske, Frankfurter Rundschau
    • Carmen, Staatstheater Darmstadt
      October 2010

      Erica Brookhyser embodies her own version of the title character perfectly: A beautiful woman, but without any done-up affectation, whose warmth can suddenly turn into an all-consuming blaze, and whose sensitivity, the weak spot of her pursuing lover, quickly mutates into a deadly offensive weapon. Combining an extraordinary stage presence and a powerful vocal interpretation, this mezzo-soprano is exemplary.
      Benedikt Stegemann, Frankfurter Allgemeine Zeitung
      Erica Brookhyser, like Susanna Serfling [Micaëla], boasts a beautiful voice and a natural instinct for the stage. Her gypsy, around which the entire piece revolves, is a Lover, not a Demon. Even when she hurls her "Non!" to Don José, the cast-off lover, she remains free of callousness. And when the stalker Don José in the end kills his victim, no one thinks, not even in secret, that is serves her right.
      Christian Knatz, Darmstädter Echo
      Erica Brookhyser is a magnificent Carmen. Her mezzo soprano has a timbre that casts a spell. She dominated the sold out theater, and her dance with castanets added pizzazz. At the curtain call, Brookhyser garnered vociferous Bravos.
      Manfred Merz, Gießener Allgemeine
      Flawless performance by Erica Brookhyser as Carmen. A female superman who is thoroughly graceful and savvy on stage.
      Bernhard Uske, Frankfurter Rundschau
      Erica Brookhyser dramatic approach to Carmen is enjoyable from the depths of her seamless voice to her coquettishness.
      Andreas Bomba, Frankfurter Neue Presse
  • Erica Brookhyser’s Opera Repertoire

    • Little Women (Meg)
    • Les Troyens (Didon)
    • Carmen (Carmen; Mercedes)
    • Orfeo ed Euridice (Orfeo)
    • Tamerlano (Andronico; Irene)
    • Die Tote Stadt (Brigitta)
    • Inman Diaries (Therese)
    • Cavalleria Rusticana (Lola)
    • Cendrillon (Cendrillon)
    • Thaïs (Myrtale)
    • Orfeo (Muse)
    • Così fan tutte (Dorabella)
    • Don Giovanni (Donna Elvira)
    • Le Nozze di Figaro (Cherubino)
    • Die Zauberflöte (Second Lady)
    • Les Contes d'Hoffmann (Muse; Nicklausse) [in German]
    • Madama Butterfly (Suzuki; Kate Pinkerton)
    • Dido and Aeneas (Dido)
    • Il Barbiere di Siviglia (Rosina) [in English]
    • La Cenerentola (Angelina; Tisbe)
    • Moses und Aron (Solo Voice)
    • Die Gezeichneten (Die Mutter)
    • Salome (Page)
    • Falstaff (Meg Page)
    • La Forza del Destino (Preziosilla)
    • La Traviata (Flora; Annina)
    • Nabucco (Fenena)
    • Otello (Emilia)
    • Tristan und Isolde (Brangäne)
    • Das Rheingold (Wellgunde)
    • Die Walküre (Waltraute)
    • Götterdämmerung (Second Norn; Wellgunde)
    • Parsifal (Blumenmädchen III)

    Erica Brookhyser’s Concert Repertoire

    • El Niño
    • St Matthew Passion
    • Magnificat
    • Choral Fantasy
    • Symphony No. 9
    • Messiah
    • Dettingen Te Deum
    • Das Lied von der Erde
    • Rückert-Lieder
    • Elias
    • Symphony No. 2
    • Walpurgisnacht
    • Vespers of 1610
    • Mass in C Minor
    • Music's Music
    • String Quartet No. 2
    • Wesendonck-Lieder
  • Photos