Talise Trevigne is represented by Rayfield Allied worldwide.

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Talise Trevigne

Soprano

  • Trevigne is spectacular both technically and emotively—this woman should have a huge career ahead of her. (Jake Heggie songs recording 2013)
    Steven Ritter
  • Soprano Talise Trevigne was wonderfully impressive.
    B.A. Nilsson, Metroland
  • Trevigne's voice is thrillingly full with a secure top, and she is an excellent actor.
    Charlene Baldridge, San Diego Theatre Critics Circle
  • 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
  • The silvery soprano of Talise Trevigne, as Tell's son Jemmy, soared over the ensembles.
    James Jorden, New York Post
  • [...] the silvery toned Talise Trevigne. Moby Dick DVD review
    BBC Music Magazine
  • 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
  • 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, a bright, appealing soprano, sparkled as Jemmy, Tell’s brave young son.
    Steve Smith, The New York Times
  • American soprano Talise Trevigne begins the 2015-16 season as Pamina The Magic Flute at Hawaii Opera Theatre, before making her role debut as Cio-Cio-San Madama Butterfly at North Carolina Opera. She continues to Birmingham Opera to appear in Ricky Ian Gordon’s Orpheus and Euridice.  She returns to Fort Worth Opera to create the role of Clara JFK in David T. Little and Royce Vavrek’s world premiere; later the artist joins Albany Symphony to sing Kernis’ Love Songs and during the summer, she sings the title role Iris at Bard Music Festival.

    Last season, Talise Trevigne made role debuts as Sister Rose in Jake Heggie’s Dead Man Walking with Opera Parallele in San Francisco, and as Ophelia Hamlet at Fort Worth Opera. She joined Opera Lafayette for a recording and performances of the rarely-heard L’Epreuve Villageoise,  and appeared in concert in programmes of Mahler’s Fourth Symphony and Barber’s Knoxville: Summer of 1915  with the Florida Orchestra and the City of Birmingham Symphony Orchestra in the UK.
    Recent highlights include her appearance as the Heroines in Les Contes d’Hoffmann at Knoxville Opera, Opera de Lyon under the baton of Kazushi Ono, and at Israeli Opera with Frederic Chaslin. At Washington National Opera she revived the role of Pip Moby-Dick, a role specially written for her by the composer Jake Heggie and which she inaugurated at the world premiere of the piece at Dallas Opera in 2010, appearing also with the original cast at San Francisco Opera and at San Diego Opera. She joined the cast of Portland Opera’s Pirates of Penzance as Mabel,  and At New Zealand Opera appeared as Mimi La Boheme.

    A passionate supporter and interpreter of contemporary music, Miss Trevigne sang the world premiere of Jake Heggie’s song cycle ‘Pieces of 9/11 – Memories from Houston’ at Houston Grand Opera, and her solo CD, ‘At the Statue of Venus’ (GPR Records), written by Mr Heggie and Glen Roven—award-winning composers both—quickly climbed to the top of the US record charts.  She is featured on Jake Heggie’s latest CD release, ‘here/after, songs of lost voices’ alongside Stephen Costello, Joyce DiDonato and Nathan Gunn.

    Further successes include her appearance with Albany Symphony Orchestra to perform Christopher Rouse’s masterpiece Kabir Padavali and a further house and role debut as Julie in Francesca Zambello’s production of Showboat at Washington National Opera.

    • Iris, Bard SummerScape Festival
      July 2016

      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
    • Madama Butterfly, RTÉ Concert Orchestra Dublin
      May 2016

      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
      April 2016

      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
      March 2016

      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
      October 2015

      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
      July 2015

      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
      May 2015

      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
      May 2015

      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
      February 2015

      The potent soprano Talise Trevigne.
      Steven Winn, San Francisco Classical Voice
      Talise Trevigne is an outstanding Sister Rose, her voice is beautifully lucid.
      Opera Tattler
    • La Bohème, New Zealand Opera
      July 2014

      New York ring-in Trevigne mesmerises as the hope-filled, frail seamtress...
      Cityscape Christchurch
    • Pirates of Penzance, Portland Opera
      May 2014

      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
    • Moby Dick, Washington National Opera
      February 2014

      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
    • Moby Dick DVD San Francisco Opera live recording
      November 2013

      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.
      Opera Magazine
    • Les Contes d’Hoffmann, Knoxville Opera
      October 2013

      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
    • Kabir Padavali, Albany Symphony Orchestra
      Feb 2013

      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
    • Moby Dick, San Francisco Opera
      Oct 2012

      The only female role in the large cast is that of the cabin boy Pip. Talise Trevigne brought a suitable androgyny and high soprano to the trousers role, gamely hurdling the high-flying writing, including while suspended high over the stage after Pip falls overboard.
      Lawrence A. Johnson, The Classical Review
      The cabin boy Pip has become a pants role for soprano Talise Trevigne, and she made her SFO debut to great audience approval. Bright and energetic, with more than a little boyish vulnerability, Trevigne was believable and sympathetic.
      Philip Campbell, The Bay Area Reporter
      Soprano Talise Trevigne brought silvery vocal gymnastics and a wiry stage presence to the role of the damaged cabin boy Pip.
      Joshua Kosman, SFGate
      Oh, and here's another highlight, literally: the aerial aria sung by soprano Talise Trevigne, in the role of Pip, the cabin boy. It happens later in Act I, when Pip is thrown overboard: We see Trevigne, floating high above the stage, set against a digital ocean backdrop. Hanging from a wire, she is swimming/flying, weightless as an astronaut in space, yet fighting for life -- and going mad. And singing all the while: Trevigne's voice is pearly, lustrous and exactingly controlled, yet it also feels untethered, free. Long known to South Bay audiences -- she sang with Opera San Jose in the 2006-07 season -- this charismatic performer has arrived on the national stage and is making her San Francisco Opera debut.
      Richard Scheinin, Mercury News
      The only female voice in the cast is soprano Talise Trevigne as Pip, the cabin boy whose disappearance on a whale hunt sends the crew into a frenzy. Her slight frame and energy are wonderfully effective, and the scene in which she is suspended in front of projections of the broad sea conveyed a wonderful sense of quiet madness. Her voice seems to have taken on more of a womanly bloom.
      Harvey Steiman, Seen and Heard International
      Talise Trevigne's Pip sounded eerie and angelic.
      Opera Tattler
      Despite singing the only female part in the opera, a cabin boy pants role that appears in few scenes, Talise Trevigne leaves a lasting impression on audiences with her beautiful soprano voice and her stirring moments after the character goes mad in the second act. She and Robert Orth as Mr. Stubb provide a small amount of humor, as well, when the ship's residents dance and sing to the cabin boy's tambourine.
      Broadway Review
    • Valentines (Aaron Jay Kernis), Albany Symphony
      May 2012

      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
      July 2011

      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
      May 2011

      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
      March 2010

      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
      Apr 2009

      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

    BELLINI
    • I Puritani (Elvira)
    • La Sonnambula (Amina)
    BERG
    • Lulu (title role)*
    BIZET
    • Carmen (Micaela)
    • Les Pêcheurs De Perles (Léïla)
    DONIZETTI
    • Lucia Di Lammermoor (title role)
    DVORAK
    • Rusalka (title role)*
    GLUCK
    • Orfe ed Euridice (Euridice) - French & Italian versions
    GOUNOD
    • Faust (Marguerite)*
    • Roméo et Juliette
    GRÉTRY
    • L'épreuve villageoise (Mme Hubert)
    • Zémire et Azor (Zémire)
    HANDEL
    • Alcina (title role)
    • Giulio Cesare (Cleopatra)*
    • Rodelinda (title role)*
    • Semele (title role)*
    HEGGIE
    • Dead Man Walking (Sister Rose)
    • It's A Wonderful Life (Clara)*
    • Moby Dick (Pip)
    LEONCAVALLO
    • I Pagliacci (Nedda)
    LIM
    • The Navigator (The Beloved)
    LITTLE
    • JFK (Clara)*
    MASCAGNI
    • Iris (title role)*
    MASSENET
    • Manon Lescaut (title role)
    • Thaïs (title role)*
    MILHAUD
    • Les Malheurs d'Orphée (Euridice)
    MONTEVERDI
    • L'Incoronazione di Poppea (Poppea)*
    MOZART
    • Don Giovanni (Zerlina)
    • Don Giovanni (Donna Anna)*
    • Le Nozze di Figaro (Susanna)
    • Die Zauberflöte (Pamina) - German and English versions
    OFFENBACH
    • Les Contes d'Hoffmann (Antonia, Olympia, Giulietta, Stella)
    POULENC
    • Dialogues des Carmélites (Blanche)*
    PUCCINI
    • La Bohème (Mimi)
    • La Rondine (Magda)
    • Madama Butterfly (Cio-Cio San)
    • Turandot (Liù)*
    ROSSINI
    • Guillaume Tell (Jemmy)
    STRAUSS
    • Daphne (title role)
    SULLIVAN
    • The Pirates Of Penzance (Mabel)
    TCHAIKOVSKY
    • Eugene Onegin (Tatyana)*
    THOMAS
    • Hamlet (Ophelia)
    VERDI
    • Rigoletto (Gilda)
    • La Traviata (Violetta)
    WALLEN
    • The Silent Twins (June Gibbons)
    WEIR
    • Arminda (title role)
    • Roles marked with * are currently in preparation.
  • Photos