American soprano Mary Feminear’s voice has been described as “luminous…full of longing and sensual promise” by the Wall Street Journal and by the New York Times as showing “versatility [as Magdalene] in her sorrowing and then in her transcendent joy.” Upcoming engagements include Opera Delaware's production of The Coronation of Poppea in the roles of Venus, Damigella, and Pallade *, Maryland Lyric Opera's production of Le Nozze di Figaro as the Countess *, Beethoven's Mass in C Major with Grant Park Music Festival * and a return to Opera Omaha in the fall of 2020 as the Countess. Ms. Feminear’s engagements in the 2018-19 season included a return to Grand Théâtre de Genève as Micaëla in Carmen and concerts with Maryland Lyric Opera as Donna Elvira and Susanna. Performances of 2017-18 season included Don Giovanni at the Grand Théâtre de Genève where she sang Zerlina, Ginevra in a workshop of Handel’s Ariodante at the Opera Omaha One Festival, the soprano soloist in Mariana Sadovska’s The Wreck at the Opera Omaha One Festival, and Amore in Cavalli’s Il Giasone at the Château de Versailles.
As a member of the Troupe des Jeunes Solistes at the Grand Théâtre de Genève, she performed a number of roles which have included Musetta in La Bohème, Amore in Il Giasone, Mimì in the Scènes de la vie de Bohème, Nanetta in Verdi’s Falstaff, and Helena in Britten’s A Midsummer Night’s Dream. Ms. Feminear’s other opera credits include the title role in Handel’s Semele at Opera Omaha and Seattle Opera, Pamina in Die Zauberflöte with Pacific MusicWorks, Proserpine in Charpentier’s La Descente d’Orphee aux Enfers with Gotham Chamber Opera, and Polissena in Handel’s Radamisto at Juilliard.
She has also appeared in concert, with performances of Monteverdi’s Orfeo with Pacific MusicWorks, Tchaikovsky’s Orleanskaya Deva with the Grand Théâtre de Genève, Handel’s La Resurrezione with William Christie and Juilliard415, and the St. Matthew Passion with Juilliard415 at Alice Tully Hall.
Ms. Feminear is a recipient of the Novick Career Advancement Prize, the Makiko Narumi Memorial Prize, and the Hardesty and Beverley Peck Johnson Award.
She holds an Artist Diploma in Opera Studies and a Bachelor of Music degree from the Juilliard School and a Master of Arts degree from Teacher’s College at Columbia University.
*affected by COVID-19
Leïla (Les pêcheurs de perles)
Helena (A Midsummer NIght's Dream)
The Governess (The Turn of the Screw)
Adina (L’Elisir d’Amore)
Lucia (Lucia di Lammermoor)
Juliette (Roméo et Juliette)
Contessa Almaviva (Le Nozze di Figaro)
Susanna (Le Nozze di Figaro)
Donna Anna (Don Giovanni)
Donna Elvira (Don Giovanni)
Zerlina (Don Giovanni)
Pamina (Die Zauberflöte)
Despina (Così fan tutte)
Fiordiligi (Così fan tutte)
Musetta (La Bohème)
Lauretta (Gianni Schicchi)
Rosina (Il Barbiere di Siviglia)
Anne Trulove (The Rake’s Progress)
Violetta Valéry (La Traviata)
St Matthew Passion
Mass in C Major
La Resurrezione (Mary Magdalene)
Mass in C Minor (Soprano II)