Opera & Opera ScenesĪcademy Voice Fellows, coached by Voice Program faculty, present a fully staged opera production at Santa Barbara’s 1,600-seat Granada Theatre each Summer Festival. Vocal assignments are based on admissions auditions but are subject to change according to Fellows’ progress during the Academy session. Each singer is expected to arrive ready for coaching with all repertoire memorized. Singers accepted into the Voice Program receive opera assignments within the enrollment materials, and opera scenes assignments are distributed approximately 3 months before the Summer School and Festival begins. Applicants must be 18 years of age prior to the start of the Summer Festival, and no older than 34 years of age through the Festival’s conclusion. Fellows are coached in singing technique, diction, interpretation, style, and presentation, and explore the literature of opera, musical theatre, and song.Īdmission to the Voice Program is limited to 23 singers. Emma’s 2010 live recording of Mahler’s Das Lied von der Erde, with conductor Kenneth Woods and the Orchestra of the Swan has been given an “Outstanding IRR” by International Record Review.Under the direction of celebrated mezzo-soprano Marilyn Horne, the Music Academy Voice Program offers intensive training for young singers who demonstrate the potential for careers in music. Their debut recording, Calliope – volume the first, was awarded Best Classical Vocal Album by AllMusic.
Emma’s concert appearances include Sibelius’s Jokamies with the BBC Symphony Orchestra conducted by Thomas Adès and Janáçek’s Diary of One who Disappeared at the Aldeburgh Festival, Brahms’ Alto Rhapsody and Elgar’s Sea Pictures with conductor Kenneth Woods, and Vaughan Williams’ Serenade to Music with Leonard Slatkin and the BBC Symphony Orchestra at the First Night of the BBC Proms.Įmma is co-director of baroque ensemble The Frolick with Andrew Maginley. Other operatic appearances include Geneviève ( Pelléas et Mélisande), La principessa ( Suor Angelica), Third Lady ( Die Zauberflöte) and Modestina ( Il viaggio a Reims) in Santa Barbara, Quickly ( Falstaff) for Festival Opus a Gattières, and Mother Goose ( The Rake’s Progress) and Maddelena ( Rigoletto).
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Emma has appeared in new productions directed by Jossi Wieler & Sergio Morabito, Peter Konwitschny, Hans Neuenfels, Christopher Mattaliano, Christoph Perton, Bernard Brocca and Catherine Turocy, and in stagings by Joachim Schlömer, Edward Berkley and Axel Mantey.Īs a Baroque specialist Emma has performed the title role in Cavalli’s Giasone for Aspen Music Festival conducted by Harry Bicket, Irene in Handel’s Atalanta at the International Handel-Festival, Göttingen, conducted by Nicholas McGegan, Eduige (Handel’s Rodelinda) for Portland Opera, USA, conducted by George Manahan, Bertarido (Handel’s Rodelinda) in Santa Barbara, Cleofe in Handel’s La Resurrezione at the Lufthansa Baroque Festival in London, with Trevor Pinnock and The English Concert, Les Leçons de Ténèbres by Marc Antoine Charpentier, plus the world premiere of Les Leçons de Ténèbres by Philippe Fénelon, with La Grand Ecurie et la Chambre du Roy and Au temps de Port Royal with Les Arts Florissants and William Christie. Most recently, Emma sang Irene in the development of Vasco Mendonça’s The Takeover for Festival d’Aix en Provence directed by Johanna Wehner. nackte Jungfrau in Schönberg’s Moses und Aronconducted by Lothar Zagrosek, and Poklízecka in Janáçek’s The Makropolous Case, conducted by Sylvain Cambreling.Įmma created the role of Galatée in the world premiere of Pastorale by Gérard Pesson for Staatstheater Stuttgart conducted by Kwamé Ryan, and the leading role of L’Ainée in the world premiere of Jacques Lenot’s J’étais dans ma maison et j’attendais que la pluie vienne at Opera de Genève, conducted by Daniel Kawka. In 2003/04 she sang Pastore II in Monteverdi’s Orfeo with Jean-Claude Malgoire, Eine Kranke and 4. She debuted at the Staatstheater Stuttgart as Nutrice ( L’incoronazione di Poppea) and then in 2001/02 sang Ericlea ( Il ritorno d’Ulisse in patria).
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She had successful surgery to remove a large pelvic mass in April 2011, with a full recovery and return to fitness, and is now returning to the stage. In 2008 Emma withdrew from opera performance due to a painful, complex pelvic condition. She was a full-time member of the Solo Ensemble at the Staatstheater Stuttgart from 2003 to 2006. Emma Curtis studied at the Guildhall School of Music and at the Music Academy of the West in Santa Barbara, California where she worked with her mentor Marilyn Horne.
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