Talise Trevigne is represented by Rayfield Allied worldwide.
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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
In season 2014-15, American soprano Talise Trevigne returns to a familiar composer for her role debut as Sister Rose Dead Man Walking with Opera Parallele in San Francisco. She joins the Florida Orchestra for a mixed programme including Mahler and Barber, and continues to Fort Worth to make her company and role debut as Ophelia Hamlet. Later she joins Opera Lafayette for a role in the rarely-heard L’Epreuve Villageoise, to be recorded in concert at Washington DC’s Kennedy Centre.
Last season’s 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.
Recent 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.
Miss Trevigne studied at the Manhattan School of Music and graduated with her Master’s in Music. While still a student, she made her operatic début under the direction of Julius Rudel as Violetta La Traviata and Zerlina Don Giovanni at the Aspen Music Festival.
Other notable appearances include Michaela Carmen at San Diego Opera, Jemmy Guillaume Tell and Euridice Orfeo ed Euridice at Caramoor Festival, Gilda Rigoletto at Tulsa Opera and Mimi La Boheme at Opera Omaha. At Knoxville Opera, Miss Trevigne has appeared as Gilda and in the title role Manon.
In Britain, the artist originated the title role in the world premiere of Judith Weir’s Armida for the BBC. She made her UK stage debut as June Gibbons in the world premiere of Errollyn Wallen’s The Silent Twins with Almeida Opera, and later won the coveted Royal Philharmonic Society Music Award (2007) for her mesmerizing portrayal of Violetta in Graham Vick’s La Traviata with Birmingham Opera. Later, she sang Gilda at the Dublin International Opera Festival in 2008.
In her Australian début, Miss Trevigne appeared as The Beloved in the world premiere of Liza Lim’s The Navigator, directed by Barrie Kosky for the Melbourne International Festival, and she revived the role at the Chekhov International Arts Festival in Moscow and at the Bastille in Paris (December 2009). Originally trained as a dancer, Miss Trevigne appeared as vocal soloist in the world premiere of Dance Theater of Harlem’s St. Louis Woman—A Blues Ballet at the Lincoln Center Festival, at Los Angeles’ Dorothy Chandler Pavilion and The Kennedy Center.
Busy on the concert and recital stage, the artist’s appearances include Cantaloube’s Chants D’Auvergne, Satie’s Socrate, Mahler’s Second Symphony and Fourth Symphony, Barber’s Knoxville, Summer of 1915 and Prayers of Kierkegaard. She also performed the rare works of Maurice Delage, Purcell and Nin-Culmell in New York. She sang Richard Strauss’ Vier letzte Lieder with Chicago’s Ars Viva Symphony Orchestra and the Sacramento Philharmonic, and appeared with Dallas Symphony in Orff’s Carmina Burana.
Other roles the artist sings are Rosina Il barbiere di Siviglia, Pamina Die Zauberflöte, Juliette Roméo et Juliette, and the title role Lucia di Lammermoor.
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.Opera Tattler
La Bohème, New Zealand Opera
New York ring-in Trevigne mesmerises as the hope-filled, frail seamtress...Cityscape Christchurch
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
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 PipTim Smith, Opera
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.Opera Magazine
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
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
Moby Dick, San Francisco Opera
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
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