Versatile vocalist Abigail Fischer debuted with LAO in Song from the Uproar in 2015.
She has made a vibrant career soloing with ensembles such as the Kansas City Symphony, Milwaukee Symphony, Rhode Island Symphony, Virginia Symphony, Boston Baroque, and Mercury Orchestra Houston. With the Boston Symphony Orchestra, Ms. Fischer performed semi-staged versions of Salome and A Midsummer Night's Dream. Missy Mazzoli's first opera, Song from the Uproar, written for her and the NOW Ensemble, is a one-woman show that has been seen at LA Opera, Chautauqua Opera, and Cincinnati Opera.
Known for her “serenely captivating” work in opera, “and disarming intimacy” (NY Times), Ms. Fischer recently performed two daring alternative productions of Carmen in Boulder, Colorado and Rockport, Maine. In the 2016/17 season, Ms. Fischer reprised the one-woman show Toshio Hosakawa's The Raven in Bolzano, Italy for her Italian stage debut. Ms. Fischer has sung the title role in The Rape of Lucretia with Opera Memphis, has premiered Lee Hoiby's This is the Rill Speaking with American Opera Projects, has sung La Cenerentola with Union Avenue and Salt Marsh Opera, and Angels in America with LA Philharmonic. One of her favorite pieces is Lieberson's Neruda Songs, which she performed with the Columbus Symphony. Other recent premieres at the Prototype Festival have included Mrs. X.E. in Du Yun/Royce Vavrek's Angel's Bone (which won the 2017 Pulitzer Prize for Musical Composition) and the Mother in Stefan Weisman/David Cote's Scarlet Ibis.
With Gotham Chamber Opera, Ms. Fischer performed Testo in Monteverdi's Il Combattimento di Tancredi e Clorinda and Eva in Martinu's Comedy on the Bridge. In early music, she has worked with American Bach Soloists, Rebel Baroque Orchestra, Duke Chapel Choir, Early Music New York and Mercury Houston. At Carnegie Hall with the New York Choral Society in 2017, Ms. Fischer reprised her role as soloist in Haydn's Lord Nelson Mass, which she first performed and recorded with Boston Baroque. (AbigailFischer.com)