"Soprano Talise Trevigne brought silvery vocal gymnastics and a wiry stage presence to the role of the damaged cabin boy Pip."
Joshua Kosman, SFGate
"Talise Trevigne was the impressive and enchanting soloist in Christopher Rouse’s “Kabir Padavali”; She displayed an agile, supple voice over an extensive range in abstract lines of much difficulty."
The Sunday Gazette
"Soprano Talise Trevigne is terrific as Micaëla."
Pam Kragen, North County Times
"Trevigne's voice is pearly, lustrous and exactingly controlled, yet it also feels untethered, free."
Richard Scheinin, Mercury News
"Soprano Talise Trevigne was wonderfully impressive."
B.A. Nilsson, Metroland
"The silvery soprano of Talise Trevigne, as Tell's son Jemmy, soared over the ensembles."
James Jorden, New York Post
"Talise Trevigne, a bright, appealing soprano, sparkled as Jemmy, Tell’s brave young son."
Steve Smith, The New York Times
"Trevigne's voice is thrillingly full with a secure top, and she is an excellent actor."
Charlene Baldridge, San Diego Theatre Critics Circle
"Trevigne’s voice was agile and expressive as she conquered the wide melodic leaps. Her voice was clearly heard throughout, even when the orchestra was in full volume with dense lines and dissonant clusters."
Priscilla McLean, TimesUnion
"Trevigne is spectacular both technically and emotively—this woman should have a huge career ahead of her. (Jake Heggie songs recording 2013)"
American soprano Talise Trevigne begins the 2019-20 Season in a return appearance with CBSO for Tippett’s A Child of our Time in performances in the UK and Germany conducted by Mirga Gražinytė-Tyla. Returning to the US she makes her Lyric Opera of Chicago debut as Kitty Hart (Sister Rose c) Dead Man Walking before traveling to Albany Symphony to sing Knoxville: Summer of 1915. She joins the Metropolitan Opera cast of Porgy & Bess and later in the season returns to the role of Mimi La Boheme at Fort Worth Opera.
Last season Miss Trevigne debuted the role of Ma in Missy Mazzoli/Royce Vavrek’s highly lauded Proving Up at Omaha Opera and at Lincoln Centre and made a further role debut at Madison Opera as Nedda Pagliacci. She travelled to Theater Basel for one of her signature roles, Cio-Cio-san Madama Butterfly, a role that originally brought her great accolades at North Carolina Opera and at Kentucky Opera. She finished the season at Cincinnati Opera in the title role in Porgy & Bess reviving her great success in the role at Glimmerglass Festival the previous season. She was greatly honored to be nominated for a 2016 Grammy Award in the category Best Solo Classical CD for her rendition of Christopher Rouse’s masterpiece Kabir Padavali with Albany Symphony.
Recent highlights include the role of Micaëla Carmen at Hawaii Opera Theatre, and in Fort Worth she created the role of Clara JFK, a role she took to Opéra de Montréal, a Canadian debut. She sang Leila Les Pêcheurs de Perles at North Carolina Opera and the title role Iris at Bard SummerScape Festival. Another role debut brought Ophelia Hamlet into her repertoire at Fort Worth Opera, and she sang Getry’s rarely-heard L’Epreuve Villageoise in a recording and performances with Opera Lafayette. Her Heroines Les Contes d’Hoffmann at Opera de Lyon under the baton of Kazushi Ono was a great success, and she revived the roles at Israeli Opera with Frederic Chaslin.
This biography is for information only and should not be reproduced.
Madama Butterfly, Theater Basel
The title role is grandly embodied in the Basel production by the American soprano Talise Trevigne. In no way does it resemble the inexperienced girl sung in the opera. She appears as a fun-loving, self-confident woman who believes in the honesty of feelings - with fatal consequences...The focus is on Talise Trevigne as Butterfly, who in the second part provides a wealth of vocal highlights with her nuance-rich voice.
Martina Wohlthat, Neue Zurcher Zeitung, 31 March 2019
The premiere evening has another name: Talise Trevigne plays and sings the Butterfly with a bewitchingly lyrical, colour-changing soprano, with subtle tone and a tremendous penetration in all registers.
Alexander Dick, Badische Zeitung, 31 March 2019
Vocally, she is a special Madame Butterfly from the beginning - with great depth and dramatic strength…
Georg Rudiger, NMZ.online, 2 April 2019
Pagliacci, Madison Opera
As the ingénue everyone’s in love with, Talise Trevigne lifts Nedda’s plea for freedom, “Stridono lassù,” to the rafters with sparkling coloratura flair.
Lindsay Christians, The Cap Times, 3 November 2018
Proving Up, Opera Omaha
Moore and Talise Trevigne, as his wife, delivered powerful and believable performances...
World-Herald, Betsie Freeman, 14 April 2018
This opera was written specifically for soprano Talise Trevigne...Trevigne is sensational as the matriarch trying to hold together an untenable situation in a heartbreaking characterisation
Opera Wire, Santosh Venkataraman, 24 April 2018
Talise Trevigne’s rich soprano embodies Ma’s stoic resignation.
Wall Street Journal, Heidi Waleson, 16 April 2018
"Ma" Zegner, sung by Talise Trevigne, was both tragic and fierce. Trevigne's vocal lines managed to be lyrical and heartbreaking even during physically demanding staging.
Schmopera Review, Meghan Klinkenborg, April 2018
Talise Trevigne, as Mrs. Johannes “Ma” Zegner, grabbed the audience’s attention with luxuriant vocalism...unwavering commitment to character was also impactful...Trevigne’s character is much more physically solemn. However, she vocally imparts an unforgettable emotional wallop as she echoes a previous musical moment and sings, “Oh God, you are a rumor.”
I care if you Listen, Megan Ihnen, 26 April 2018
Porgy and Bess, The Glimmerglass Festival
Talise Trevigne makes an equally strong case for Bess, bringing star power to her well-considered interpretation. Her confident, glimmering soprano beautifully encompassed some of the work’s best-known melodies. Ms. Trevigne brought committed acting to the mix, and she found all the necessary extremes to this unstable, emotionally volatile character. Her singing is pliable and expressive in all registers and volumes, and she judiciously uses her chest voice to serve the desperate lower pleas in What You Want With Bess? Talise and Musa are wonderfully paired, exuding a good chemistry. Bess, You Is My Woman Now was so heart rending to see, so ravishing to hear that I thought the show might never get going again from the prolonged, cheering ovation at its conclusion.
Opera Today, James Sohre, 23 August
California soprano Talise Trevigne was an affecting Bess, engendering audience sympathy for an emotionally unstable personality. Gershwin has showered on Bess a wealth of melodies that Trevigne performed elegantly – a beautifully controlled, vocally expressive soprano that suggested that, had the course of hard luck events gone differently, Trevigne’s Bess might have summoned the strength to overcome her demons.
Opera Warhorses, July 2017
Talise Trevigne is a well-established soprano. Her voice has a rich lyric quality and she easily negotiated the soaring lines that Gershwin assigned to Bess, the bad girl incapable of redeeming herself through love.
Bachtrack, Edward Sava-Segal, 7 August
Her Bess was lost and wild and vulnerable and lonely, a perfect match for Porgy. She sang the role just as beautifully and expressively as we expect, and looked as sexy as Bess should.
Taminophile , 14 July
As Bess, soprano Talise Trevigne also sings beautifully. Despite her bright orange slip dress and red hair, Trevigne’s Bess often seems ragged and off kilter physically, a reflection of her wrenching inner conflicts between a life of propriety or of continued addiction. When Porgy and Bess are in bed together singing “Bess You Is My Woman Now,” there’s a bittersweet and unsettled mingling of seduction and devotion.
WAMC Northeast Public Radio, Joseph Dalton, July 8
Bess is Talise Trevigne, also a veteran of a repertoire of Mozart, Strauss, and modern composers. Her duets with Ngqungwana were beautifully sung, and she held onto her final notes with a vengeance.
Boston Musical Intelligencer, Bettina A. Norton, 29 July
An excellent actress and musician, the winning Talise Trevigne managed to suggest the slightly wider vocal scope needed for Bess, giving a disciplined, detailed reading free of all stereotype.
Opera Magazine, David Shengold, October 2017
Among the more seasoned performers…Talise Trevigne's too-sexy-for-her-own-good, morally confused Bess, sung with heart and soul and a soaring soprano...
Opera Now, Robert Levine, October 2017
The Pearl Fishers, North Carolina Opera
Regular NCO audiences will remember Talise Trevigne and her brilliant portrayal of Cio-Cio-San in 2015. The power of her voice is tempered by a pure and shimmering quality, and her upper register is especially crystalline and bright. She was a beautifully compelling Leila.
Classical Voice of North Carolina, Ken Hoover
It’s a Wonderful Life, Houston Grand Opera
Soprano Talise Trevigne, who played the cabin boy Pip in the original cast of Heggie’s Moby-Dick, brought to the role a warm, soaring voice that fit right in with classic notions of what an angel should sound like.
Texas Classical Review, Steven Brown, 4 December
The production stars a sublime Talise Trevigne as Clara, a peppier version of Clarence, the second-class angel hoping to earn his wings by saving the suicidal George Bailey.
Houston Chronicle, Wei-Huan Chen, 4 December
And from start to finish, Trevigne sang like the angel she portrayed.
Houstonia, Sydney Boyd, 5 December
Four Last Songs, CBSO
Even more glorious are the Four Last Songs of Richard Strauss...the vocal line was beautifully assimilated into this texture, soprano Talise Trevigne gorgeously open of voice and forward in projection. Her immersion in these poignant songs of farewell was both generous and genuine...
The Birmingham Post, Christopher Morley, 7 October 2016
Madama Butterfly, Kentucky Opera
Young and Beautiful. Naïve and True. These things have been attributed to the character of Butterfly and I am happy to say that Talise Trevigne’s interpretation was on point. Armed with a sumptuous soprano, her Butterfly was beguiling from start to finish. You knew when she was happy, sad, scared and/or angry. It was Butterfly’s world and Ms. Trevigne knew how to hold your attention. In her opening duet with Mr. Meers, the lovely Bimba, Bimba, non piangere, you could hear the hope in her voice. While singing Un bel dì, perhaps one of the most famous arias in the whole of soprano repertoire, you felt as if you were beside her as she talked about her missing husband’s arrival. But it was her closing aria, Con onor muore, that truly brought that talent home.
Arts-Louisville.com, Annette Skaggs, 26 September 2016
Iris, Bard SummerScape Festival
As Iris, Talise Trevigne displayed a big dramatic soprano and a convincing air of innocence.
The Wall Street Journal, Heidi Waleson, 26 July 2016
As Iris, soprano Talise Trevigne sang with a strong, confident ... voice. She easily conjured the innocence and sincerity of the character in “Un di, ero piccina”
Bachtrack, Edward Sava-Segal, 25 July 2016
A slight, vulnerable and beautiful figure, Talise Trevigne won all hearts as the enigmatic Iris... Trevigne’s radiant top and musical phrasing served her well; she deserved her curtain call cheers.
Opera News, David Shengold, 24 July 2016
The title role had lucky casting in Talise Trevigne: Her reading had full-bodied tone...
WQXR/Operavore, David Patrick Stearns, 25 July 2016
..a radiant, devastating Talise Trevigne as its impossibly innocent heroine...Trevigne skillfully balanced Iris’s trauma with her blind commitment to her innocent world view. She beautifully negotiated the pure innocence of Iris while allowing us to become occasionally frustrated with her stubbornness. She was particularly arresting in Iris’s wrenching existential encounters in the sewer with her father and Osaka and Kyoto...she soared expressively above the staff where her tight vibrato excitingly throbbed with confused emotion.
ParterreBox, Christopher Gorwin, 25 July 2016
It probably would have been worth the trip to Bard SummerScape's production of Pietro Mascagni's IRIS--last heard at the Met in 1931--simply to make the acquaintance of soprano Talise Trevigne. Through much suffering and indignity, Trevigne sang the title role in a luxurious, plush-voiced, physical performance that made the most of the score by the composer who will always be known for CAVALLERIA RUSTIANA, that signpost of verismo opera. She's a find, and I hope to hear her again.
Broadway World, Richard Sasanow,
Soprano Talise Trevigne delivers a shattering, soaring performance in the title role. Her clear, liquid tones and her straightforward acting avoid the tearjerking usually associated with Butterfly.
Cultural Weekly, David Sheward, 27 July 2016
Talise Trevigne as Iris has a monumental role. She is on stage singing for most of the three acts and her lush soprano never faltered, always fully embracing the composer’s melodies.
Berkshire Fine Arts, Susan Hall and Djurdjija Vucinic, 25 July 2016
Poor beleaguered Iris is onstage for practically the whole show, and in the role Talise Trevigne not only endured but triumphed. Her soft-grained soprano added a welcome dash of warmth to the heroine’s meandering vocal lines and her graceful dancelike movement projected an innocent but palpable allure.
The Observer, James Jorden, 25 July 2016
Soprano Talise Trevigne simply stunned in the title role, walking the path from girlish innocence to utter confusion (in the brothel scene) to desperate suicide. This is stern, demanding music, starting with her own paean to the sun and climaxing in the scene where she fights Osaka off. Ms. Trevigne had power in reserve for the finale...
Super-Conductor, Paul J. Pelkonen, 26 July 2016
Talise Trevigne possesses an attractive, smoky voice from top to bottom and the endearing presence necessary to redeem a character whose naivete can be seriously patience-testing.
Opera Teen, 24 July 2016
Talise Trevigne's expansive soprano sailed over the orchestra and was just right for the lead...
Voce di Meche, Meche Knoop, 24 July 2016
But the rays of light are most radiant coming from Talise Trevigne, the Iris of the evening. This is a voice as shimmering and light-filled as a goblet painted by Vermeer—silver, but with so many reflected colors. Flexible and clear, and articulate, it seems to shed light on everything.
Imby, Andrew Appel, 31 July 2016
And soprano Talise Trevigne as Iris was a wonder of delicate, ever-shifting moods and intensities. Her voice is supple, warm, youthful and beautiful. For stamina alone (the character is never off the stage and rarely not singing) she deserves plaudits. Her achievement was the more monumental for her complete, humane immersion in her character’s progression from blithe innocence through sexual awakening and ultimate tortured confrontation with mortality.
La Scena, Charles Geyer, 6 August 2016
The Iris, Talise Trevigne, gave a touching, realistic performance. Diminutive, and a fine actress, she was a physically believable Iris. Her voice has blossomed recently into a rich, voluptuous spinto. It’s a thrilling sound….
Opera Magazine, Eric Myers, December 2016
Madama Butterfly, RTÉ Concert Orchestra Dublin
impressive US soprano Talise Trevigne's ... Act II Un bel di touches the heartstrings while her Che tua madre, addressed to her son, is poignantly affecting. Delicately demure in Act I, Talise Trevigne presents formidable strength in Acts II and III.
The Independent, Pat O'Kelly, 1 June 2016
JFK, Fort Worth Opera
These characters, sung by the endearing Talise Trevigne … are most affecting…
NY Times, Anthony Tommasini, 24 April
…stirring singing from soprano Talise Trevigne…
Artsblog Dallas, Scott Cantrell, 24 April
They are incarnated here as a hotel maid, played by soprano Talise Trevigne, and a Secret Service agent, tenor Sean Panikkar. Both are excellent vocally and dramatically as they are ever-present yet barely noticed.
Theater Jones, Gregory Sullivan Isaacs, 26 April
Talise Trevigne and Sean Panikkar were potent as Clara and Henry...
The Wall Street Journal, Heidi Waleson, 25 April
...the singing of Sean Pannikar and Talise Trevigne. I would have loved to have heard more from such fine voices.
WOSU Radio, Christopher Purdy, 12 May
Orpheus and Euridice, Opera Birmingham
Talise Trevigne’s radiant, full-bodied soprano channelled Euridice into powerful yet introspective drama, the capriciousness of love, the weakness from illness and dread of loss and impending death each transmitted passionately. Moving with supple grace … Trevigne convincingly gave the ancient tale universal sensibility.
Michael Huebner, ArtsBHAM, 12 March
Madama Butterfly, North Carolina Opera
There wasn’t a weak link in the cast… Talise Trevigne put down a firm claim on the demanding role of Butterfly, her first attempt full of radiant vocalism, meltingly lyrical or boldly emphatic as needed. … it seems inevitable that she’ll soon be widely known for this role.
Roy C. Dicks, The News Observer (31 October 2015)
Visually, soprano Talise Trevigne was the ideal Cio-Cio San. A petite, delicately-featured lady of great beauty… hers was a connection with the character and her music at the molecular level rather than a studied, Stanislavskian impersonation….she soared to top B♭ and thrilled with the freshness of her sound….The disarming sweetness of her 'Siam giunte' was invigorating … the line rising through top B♭s to the glorious top C with which she surrendered to Pinkerton's ardor.... Trevigne made the famous 'Un bel dì, vedremo' an intimate statement of her faith and devotion no less galvanizing than Tosca's 'Vissi d'arte, vissi d'amore,' rising to the top B♭s with seemingly limitless breath control...The climactic top B♭s poured from her throat like emotions that could no longer be controlled…She met the demands of Act Three without a trace of artifice…Few people in the audience are apt to have been unaware that Madama Butterfly ends with the heroine's suicide, but there were audible gasps when this performance's Cio-Cio San unaffectedly plunged her father's tantō into her neck. This was evidence of the singular force of Trevigne's portrayal of Butterfly. A beautiful sound is not all that is required to sing the rôle memorably, but the pure beauty of Trevigne's voice was unforgettable. In movement, in voice, and in expressivity, she was a Butterfly worthy of mention alongside Maria Callas, Eleanor Steber, Leontyne Price, and Renata Scotto.
Voix des Artes (31 October 2015)
Of the lead singers, Talise Trevigne, as Cio-Cio-San, was clearly the standout. With her pure and shimmering tones, she conveyed the innocence of the young girl. With astonishing vocal power, she portrayed the determined hope of the girl who saw any doubt as a betrayal. Her rendition of "Un bel di" was spot on.
Ken Hoover, CVNC.org (31 October 2015)
Knoxville: Summer of 1915, CBSO
Trevigne's communication of James Agee's nostalgic poem was enchanting, her delicate, perfectly-formed delivery smiling in its engagement as it conveyed all the text's innocent, wide-eyed, childish wonderment.
Christopher Morley, Birmingham Post
L’Epreuve Villageoise, Opera Lafayette
The deep, melting sound of the soprano Talise Trevigne’s voice was ideal for the determined Madame Hubert.
Anthony Tommasini, New York Times
Best of all was the cast. ... Talise Trevigne was the warmly commanding Madame Hubert (the mother).
John Rockwell, Opera Magazine
Hamlet, Fort Worth Opera
But the biggest ovation of the night went, deservedly, to soprano Talise Trevigne as Ophelia. Most familiar to area audiences for creating the role of Pip the Cabin Boy in the premiere of Heggie’s Moby Dick for Dallas Opera in 2010, she navigated the bel canto flourishes of her part with a beautiful tone quality while portraying the unfortunate young woman’s decay into a madness reflecting the world around her.
” Wayne Lee Gay, Front Row/D Magazine
Highly impressive was the Ophelia of soprano Talise Trevigne, who gets a whole act for her mad scene and subsequent demise.
Olin Chism, Star Telegram
Dead Man Walking, Opera Parallele
The potent soprano Talise Trevigne.
Steven Winn, San Francisco Classical Voice
Talise Trevigne is an outstanding Sister Rose, her voice is beautifully lucid.
Pirates of Penzance, Portland Opera
The soul of the show on opening night was the scene-stealing soprano Talise Trevigne as Mabel, the youngest daughter of Major General Stanley and Frederic’s love interest. She was a fresh, radiant presence with sweet high notes and keen comic timing, and she managed to keep the nuttiness in check while happily playing along.
James McQuillen, OregonOnline
La Bohème, New Zealand Opera
New York ring-in Trevigne mesmerises as the hope-filled, frail seamtress...
Moby Dick, Washington National Opera
Trevigne, meanwhile, elevates Pip into a star of the evening with a more obviously dramatic arc, descending from stock operatic-page cuteness into visionary, Holy-Fool like madness, all sung with a voice that’s high and rich and round, like a vein of silver running through the night.
Anna Midgette, Washington Post
...the engaging Talise Trevigne, reprising the role of Pip
Tim Smith, Opera
Les Contes d’Hoffmann, Knoxville Opera
It’s a coin toss whether one thinks of the beautiful Trevigne, who portrayed all four of the women in Hoffmann’s adventures, as a gifted opera singer who is also a skilled actress, or a brilliant actress who sings gloriously.
Her characterization of Olympia, the mechanical mannequin with whom Hoffmann first falls in love, was robotic and as convincing as a wind-up doll could be. Yet, her singing of the famous “Doll’s Song” was both gorgeous and spectacular.
Harold Duckett, Knoxnews
Moby Dick DVD San Francisco Opera live recording
Talise Trevigne fits perfectly into the trouser role of Pip.
Christie Grimstad, ConcertoNet
Talise Trevigne is irresistible in the trousers role of the young cabin boy Pip.
Scott Cantrell, Dallas News
Talise Trevigne gives a delightful (and ultimately moving) reading of her attractive music.
Kabir Padavali, Albany Symphony Orchestra
Soprano Talise Trevigne was the impressive and enchanting soloist in Christopher Rouse’s “Kabir Padavali” (1998). Based on six of Kabir’s 15th century poems and sung in Hindi, Trevigne displayed an agile, supple voice over an extensive range in abstract lines of much difficulty.
Geraldine Freedman, The Sunday Gazette
Talise Trevigne gave a top performance of these difficult but fascinating seven songs, each one a special style matching Padavali’s Indian poetry. Trevigne’s voice was agile and expressive as she conquered the wide melodic leaps. Her voice was clearly heard throughout, even when the orchestra was in full volume with dense lines and dissonant clusters.
Priscilla McLean, TimesUnion
Valentines (Aaron Jay Kernis), Albany Symphony
Soprano Talise Trevigne was wonderfully impressive in her performance of the difficult songs, her voice warm, her diction perfect, radiating a sense of accessibility rare in the highly trained.
B.A. Nilsson, Metroland
Guillaume Tell, Caramoor International Music Festival
The silvery soprano of Talise Trevigne, as Tell's son Jemmy, soared over the ensembles.
James Jorden, New York Post
Talise Trevigne, a bright, appealing soprano, sparkled as Jemmy, Tell’s brave young son.
Steve Smith, The New York Times
Talise Trevigne was the fine son, Jemmy, singing with youthful ardour.
Richard Traubner, Musical Criticism
Talise Trevigne sailed over the massive ensembles with good legato.
William R. Braun, Opera News
Carmen, San Diego Opera
Soprano Talise Trevigne is terrific as Micaëla.
Pam Kragen, North County Times
One of the production's most pleasing aspects is the company debut of soprano Talise Trevigne as Micaëla. Her Act III aria is THE highlight of the production. Trevigne's voice is thrillingly full with a secure top, and she is an excellent actor whose return next season as Pip, the Cabinboy, in Jake Heggie's Moby-Dick is eagerly anticipated.
Charlene Baldridge, San Diego Theatre Critics Circle
Micaëla is a satisfying fit and a first for Talise Trevigne as she sings with lyrical grace and demure, especially when reaching the deeper notes.
Christie Grimstad, ConcertoNet
Trevigne as Micaëla offered lyrical relief. She sang with great beauty and charm.
David Gregson, Opera West
Manon, Knoxville Opera
Singing the title role of Manon was soprano Talise Trevigne. Trevigne seems to have an ideal voice for Manon, with a gorgeous timbre that can contain both a naïve, youthful sparkle as well as a mature lusciousness. While her voice possesses a noticeably clean flexibility and is lovingly capable of thrilling coloratura moments, her strength lies in telling a story with her voice.
Alan Sherrod, MetroPulse
Talise Trevigne, who stars as the vain, pleasure-seeking Manon, is stunning in both looks and voice, and her performance of 'Adieu, petite table' is so moving it drew spontaneous 'bravos' from the crowd. Trevigne's performance as a 16-year-old whos family is sending her to a convent because she 'loves life a little too much' is very credible. You see and hear her character change, in voice as well as actions and demeanor, throughout her performance. She goes with ease from a mischievous young girl to a manipulative hedonistic woman, to the repentant dying Manon.
Kim Midkiff, Knoxville News Sentinel
La Bohème, Opera Omaha
Soprano Talise Trevigne (Mimì) delivered the standout performance of the evening. She sang with a voice of bell-like purity and with a technique - breath support, vibrato, etc. - that was so natural that it was almost unnoticeable. Her singing during the Act 4 death scene was especially memorable, with her notes floating weightlessly and transparently, like a departing spirit.
John Pitcher, Omaha World-Herald
Talise Trevigne’s Operatic Repertoire
I Puritani (Elvira)
Lucrezia Borgia (title)*
Maria Stuarda (title)*
Rusalka (title role)*
Dead Man Walking (Sister Rose)
I Pagliacci (Nedda)
Iris (title role)
Manon (title role)
Don Giovanni (Zerlina)
Les Contes d'Hoffmann (Antonia, Olympia, Giulietta, Stella)
Dialogues des Carmélites (Blanche)*
La Bohème (Mimi)
Suor Angelica (title)
Daphne (title role)
Eugene Onegin (Tatyana)*
La Traviata (Violetta)
Arminda (title role)
Roles marked with * are currently in preparation.