Susan Graham, one of the world's foremost opera stars, became Artistic Advisor to LA Opera's Domingo-Colburn-Stein Young Artist Program in 2017.

Hailed as “an artist to treasure” by the New York Times, she rose to the highest echelon of international performers within just a few years of her professional debut, mastering an astonishing range of repertoire and genres along the way. Her operatic roles span four centuries, from Monteverdi’s Poppea to Sister Helen Prejean in Jake Heggie’s Dead Man Walking, which was written especially for her. She won a Grammy Award for her collection of Ives songs, and her recital repertoire is so broad that 14 composers from Purcell to Sondheim are represented on her most recent Onyx album, Virgins, Vixens & Viragos.

This distinctly American artist has also been recognized throughout her career as one of the foremost exponents of French vocal music. Although a native of Texas, Ms. Graham was awarded the French government’s prestigious “Chevalier de la Légion d’Honneur,” both for her popularity as a performer in France and in honor of her commitment to French music.

To launch the 2018/19 season, Ms. Graham reunited with Andris Nelsons and the Boston Symphony for performances of Mahler’s Third Symphony in Berlin, Leipzig, Vienna, Lucerne, Paris, and London, at the BBC Proms. Back in the United States, she made her role debut as Humperdinck’s Witch in Doug Fitch’s treatment of Hansel and Gretel at LA Opera and returned to Carnegie Hall for Mozart’s Requiem and Haydn’s Nelson Mass with the Orchestra of St. Luke’s. Further concert engagements see the mezzo reprise her signature interpretations of four great French song cycles: Canteloube’s Chants d’Auvergne with the Sydney Symphony and David Robertson; Chausson’s Poéme de l’amour et de la mer with Florida’s Naples Philharmonic and Andrey Boreyko; Berlioz’s Les nuits d’été with the Houston Symphony and Ludovic Morlot; and the same composer’s La mort de Cléopâtre with the New Zealand Symphony under Edo de Waart. In recital, she sings Mahler and Berlioz at the Santa Fe Chamber Music Festival, while her Schumann-inspired Frauenliebe und -leben: Variations program is the vehicle for dates in the United States and at Australia’s Adelaide Festival.

Last season, she sang Berlioz’s La damnation de Faust with the Boston Symphony under Charles Dutoit. After reprising her star turn in the title role of Susan Stroman’s take on Lehár’s The Merry Widow at the Met, she joined Nathan Gunn for Trouble in Tahiti at Lyric Opera of Chicago to honor the Bernstein centennial. She concluded the operatic season with her title role debut opposite James Morris in Marc Blitzstein’s 1948 opera Regina at Opera Theatre of Saint Louis. Besides rejoining the Boston Symphony for Mahler’s Third Symphony, she sang Ravel’s Shéhérazade at the San Francisco Symphony, graced a gala concert to celebrate Tulsa Opera’s 70th anniversary, and gave solo recitals in Atlanta and St. Louis. In 2016/17, she partnered with Renée Fleming for the San Francisco Symphony’s opening-night gala, and joined Anna Netrebko, Plácido Domingo, and a host of other luminaries to celebrate the Metropolitan Opera’s five decades at its Lincoln Center home.

Among the mezzo’s many honors are Musical America’s Vocalist of the Year and an Opera News Award. Gramophone magazine has dubbed her “America’s favorite mezzo.”

(SusanGraham.com)

Susan Graham’s earliest operatic successes were in such trouser roles as Cherubino in Mozart’s The Marriage of Figaro. Her technical expertise soon brought mastery of Mozart’s more virtuosic roles, like Sesto in La clemenza di Tito, Idamante in Idomeneo and Cecilio in Lucio Silla, as well as the title roles of Handel’s Ariodante and Xerxes. She went on to triumph in two iconic Richard Strauss mezzo roles, Octavian in Der Rosenkavalier and the Composer in Ariadne auf Naxos. These brought her to prominence on all the world’s major opera stages, including the Met, Lyric Opera of Chicago, San Francisco Opera, Covent Garden, Paris Opera, La Scala, Bavarian State Opera, Vienna State Opera and the Salzburg Festival, among many others. In addition to creating the role of Sister Helen Prejean at San Francisco Opera, she starred in Washington National Opera’s revival of Dead Man Walking, making her triumphant role debut as the convict’s mother. She also sang the leading ladies in the Met’s world premieres of John Harbison’s The Great Gatsby and Tobias Picker’s An American Tragedy, and made her Dallas Opera debut as Tina in a new production of The Aspern Papers by Dominick Argento. As Houston Grand Opera’s Lynn Wyatt Great Artist, she starred as Prince Orlofsky in the company’s first staging of Die Fledermaus in 30 years, before heading an all-star cast as Sycorax in the Met’s Baroque pastiche The Enchanted Island and making her rapturously received musical theater debut in a new production of Rodgers & Hammerstein’s The King and I at the Théâtre du Châtelet in Paris.

It was in an early Lyon production of Berlioz’s Béatrice et Bénédict that Ms. Graham scored particular raves from the international press, and a triumph in the title role of Massenet’s Chérubin at Covent Garden sealed her operatic stardom. Further invitations to collaborate on French music were forthcoming from many of its preeminent conductors, including Sir Colin Davis, Charles Dutoit, James Levine and Seiji Ozawa. New productions of Gluck’s Iphigénie en Tauride, Berlioz’s La damnation de Faust and Massenet’s Werther were mounted for the mezzo in New York, London, Paris, Chicago, San Francisco and beyond. She recently made title role debuts in Offenbach’s comic masterpieces La belle Hélène and The Grand Duchess of Gerolstein at Santa Fe Opera, as well as proving herself the standout star of the Met’s star-studded revival of Les Troyens, which was broadcast live to cinema audiences worldwide in the company’s celebrated “Live in HD” series. Graham’s affinity for French repertoire has not been limited to the opera stage, also serving as the foundation for her extensive concert and recital career. Such great cantatas and symphonic song cycles as Berlioz’s La mort de Cléopâtre and Les nuits d’été, Ravel’s Shéhérazade and Chausson’s Poème de l’amour et de la mer provide opportunities for collaborations with the world’s leading orchestras, and she makes regular appearances with the New York Philharmonic, Boston Symphony, Orchestre de Paris and London Symphony Orchestra.

Ms. Graham recently expanded her distinguished discography with Nonesuch Records’ DVD/Blu-ray release of William Kentridge’s new treatment of Berg’s Lulu, which captures her celebrated role debut as Countess Geschwitz at the Met. She has also recorded all the works described above, as well as appearing on a series of lauded solo albums, including Virgins, Vixens & Viragos on the Onyx label, featuring songs and arias by composers from Purcell to Sondheim; Un frisson français, a program of French song recorded with pianist Malcolm Martineau, also for Onyx; C’est ça la vie, c’est ça l’amour!, an album of 20th-century operetta rarities on Erato; and La Belle Époque, an award-winning collection of songs by Reynaldo Hahn with pianist Roger Vignoles, from Sony Classical.