Sarah Larsen

Sarah Larsen

Sarah Larsen, mezzo-soprano

Sarah Larsen
Sarah Larsen

Praised as “sizzling,” “riveting” and possessing a “plummy, ripe mezzo,” Sarah Larsen made her Metropolitan Opera debut in the 2016 – 2017 season as Käthchen in Sir Richard Eyre’s production of Werther. She returns to The Met in the spring of 2019 for their production of The Ring Cycle and will have her company debut in Calgary Opera’s production of Everest reprising the role of Jan in Joby Talbot’s Everest.  In the summer of 2018, Ms. Larsen appeared as Prince Orlofsky in Des Moines Metro Opera’s production of Die Fledermaus and with The Knights as Paquette in a semi-stage version of Candide at Tanglewood. Further performances in the 2018-19 season include Donna Elvira in Don Giovanni with Virginia Opera,  We Are Women: A Bernstein Cabaret at Moab Music Festival, and her company debut with Mill City Opera as Dorabella in Così fan tutte. 

In the 2017 – 2018 season, she continued at The Met with productions of The Merry Widow, Cendrillon, and a new production of Parsifal with Music Director Designate Yannick Nézet-Séguin. She began the season as Ma Moss in The Tenderland with Intermountain Opera Bozeman, and made her company debut at Lyric Opera of Kansas City as Jan in Everest. In the summer of 2017, Ms. Larsen made her Italian debut, in a staging of Vivaldi’s La Gloria e Imeneo with the famed I Solisti Veneti, and presented a recital under the auspices of the Seattle Art Song Society.

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An alumna of the Seattle Opera Young Artist Program, Ms. Larsen enjoys a long relationship with the company. She has been featured as Komponist in Ariadne auf Naxos, Hänsel in Humperdinck’s Hänsel und Gretel, Suzuki in Madama Butterfly, and Maddalena in Rigoletto, among others. In 2015 and 2016, Ms. Larsen was in residence as a Filene Young Artist with Wolf Trap Opera, where she was heard on stage as Bianca in Rape of Lucretia and Susanna in The Ghosts of Versailles. Previously with Wolf Trap, she created the role of Sarelda in John Musto and Mark Campbell’s comic opera The Inspector, with a recording released in 2012.

Other engagements include her Arizona Opera debut as Donna Elvira in Don Giovanni, Suzuki at The Berkshire Opera Festival, Mercédès in Carmen for her Santa Fe Opera debut, Stéphano in Roméo et Juliette with Des Moines Metro Opera, and Neris in Medea with The Glimmerglass Festival. On the concert stage, she has been heard in performances of Bach’s B minor mass, Mozart’s Mass in C Minor, Handel’s Messiah, and Durufle’s Requiem.

In 2015 Ms. Larsen joined The Metropolitan Opera roster covering La Muse/Nicklausse in Bartlett Sher’s production of Les contes d’Hoffmann, debuted with the Pacific Symphony as Mercédès in Carmen, and performed Mozart’s Mass in C Minor with the Fresno Master Chorale. She returned to Wolf Trap Opera as a soloist in Steven Blier’s The Rodgers Family – A Century of Musicals, as well as Susanna in The Ghosts of Versailles. Other performances included Duruflé’s Requiem and Handel’s Messiah with Orchestra Seattle.

March 2013 marked her debut with the New York Festival of Song with Song of the Midnight Sun, a concert celebrating Scandinavian art song.  Ms. Larsen, along with Caitlyn Lynch and Morgan Smith, created a new song cycle entitled Farewell, Auschwitz, by Jake Heggie and Gene Sheer in May 2013 with Music of Remembrance, which was recorded and released by Naxos.

Ms. Larsen is from Roseville, MN and earned a bachelor of music from Simpson and her master’s degree from Rice University. She continued her training with residencies at the Aspen Opera Theater Center, Sarasota Opera, Virginia Opera, Wolf Trap Opera, The Glimmerglass Festival, The Santa Fe Opera and Seattle Opera. Ms. Larsen is the recipient of the Catherine Filene Shouse Career Grant at Wolf Trap, the Donald Gramm Memorial Award from The Santa Fe Opera, is a two-time recipient of the Seattle Opera Guild Training Grant, and was 3rd place winner in the 2013 Houston Grand Opera Eleanor McCollum Competition.

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Sofia Selowsky

Sofia Selowsky

Sofia Selowsky, mezzo-soprano

Beth Lytwynec
Beth Lytwynec

Maryland native Sofia Selowsky made a noteworthy role debut as Rosina in Rossini’s Il barbiere di Siviglia for Houston Grand Opera in the 2017-2018 season. Of her performance, Opera News said, “The brightest light of the performance was mezzo-soprano Sofia Selowsky as Rosina, whose singing featured a honey-rich sound with a silvery top end, even projection throughout her range, and amazingly clear passagework.” In the 2018-19 season, Ms. Selowsky continues to take on leading roles in her repertoire, including the title role in Handel’s Agrippina alongside a cast of rising American stars for Ars Lyrica Houston and Donna Elvira in Don Giovanni with Jacksonville Symphony. Additional performances in the season include Handel’s Messiah for her debut with Kansas City Symphony and Mozart’s Requiem with Charlotte Symphony.

Performances in the 2017-18 season included a cameo appearance in the ballet Mayerling with Houston Ballet and concert debuts with Lexington Philharmonic in Argento’s Casa Guidi and with North Carolina Symphony in Mozart’s Requiem.  She also made debuts with Atlanta Opera as Mercédès in Carmen, with Los Angeles Chamber Orchestra in a concert of Pergolesi, and in the summer debuted with Des Moines Metro Opera as the Stewardess in Jonathan Dove’s Flight. Recent engagements include Handel’s Jephtha with Ars Lyrica Houston, De Falla’s Siete Canciones Populares Espanolas under the auspices of Da Camera of Houston, her debut with The Minnesota Orchestra in Handel’s Messiah, and her debut with Sarasota Orchestra in Mozart’s Requiem. In the spring of 2017, she returned to the Houston Symphony Orchestra for performances of Falla’s Three-Cornered Hat and finished the season with Opera Theatre of Saint Louis, where she was heard as Frau Grubach in the American Premiere of Philip Glass’ The Trial, for which she received praise for her “beautifully free, rich-toned mezzo”.

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During her time in the HGO Studio, Ms. Selowsky was heard as The Fox in Rachel Portman’s The Little Prince, the Second Wood Nymph in Rusalka, Nell Gwynn in the world premiere of Carlisle Floyd’s new opera, Prince of Players, and Eliza in the premiere of David Hanlon’s After the Storm.  She also covered the roles of Olga in Eugene Onegin and Cherubino in Le nozze di Figaro.  In the 2014/15 season, she made her HGO debut as Suzuki in Madama Butterfly opposite Ana Maria Martinez and conducted by Giancarlo Guerrero. Additionally, that season she covered the role of Dorabella in Così fan tutte.  In the fall of 2015, Ms. Selowsky made her debut with the Houston Symphony Orchestra in Schumann’s The Pilgrimage of the Rose under the baton of Music Director Andrés Orozco-Estrada. 

A multi-year participant at the Aspen Music Festival, she was heard in the 2016 festival season as Antonia in William Bolcom’s A Wedding under the baton of Scott Terrell and was heard in concert in Berlioz’s La mort de Cléopâtre. During the 2015 festival she performed the role of Despina in Così fan tutte under the baton of Jane Glover. Previous roles and engagements include Mère Jeanne in Dialogues of the Carmelites (Opera Theatre of Saint Louis), Lazuli in Chabrier’s L’étoile (CCM), Mendelssohn’s Symphony No. 2 with the Dayton Philharmonic, Véronique in Bizet’s Le Docteur Miracle, Baba the Turk in The Rake’s Progress, Orlofsky in Die Fledermaus, and performances as a Young Artist at the Glimmerglass Festival.

Ms. Selowsky was a 2016 grant recipient from the Gerda Lissner foundation and a 2015 recipient of a Richard F. Gold Career Grant from the Shoshanna Foundation.  In 2014, she was a National Semifinalist in the Metropolitan Opera National Council Auditions and won Third Place in the Houston Grand Opera’s prestigious Eleanor McCollum Competition.  Other honors include the Italo Tajo Memorial Award (CCM Opera Scholarship Competition), an Emerging Talent Award from the Kurt Weill Foundation’s Lotte Lenya Competition, the Emile Dieterle Scholarship (CCM), and an Artist Development Fellowship from Harvard University.

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Renée Tatum

Renée Tatum

Renée Tatum, mezzo-soprano

Beth Lytwynec
Beth Lytwynec

Noted for her “commanding and dramatic presence” (Opera News), mezzo-soprano Renée Tatum is rapidly gaining critical acclaim on the most prestigious opera stages in the United States. In the coming season, Ms. Tatum returns to The Metropolitan Opera for Nico Muhly’s Marnie, and for the Waltraute and Flosshilde in Robert LePage’s famed Der Ring des Nibelungen. On the concert stage, she joins the Savannah Philharmonic for Mahler’s Resurrection Symphony and The Ceclia Chorus of New York City in Brahms’ Alto Rhapsody.

Most recently she was heard as Flosshilde and Waltraute in San Francisco Opera’s Der Ring des Nibelungen, Flosshilde in Das Rheingold at The Tanglewood Festival, Francisca in West Side Story at Grand Tetons Music Festival with Donald Runnicles, Jenny in Threepenny Opera for Boston Lyric Opera, and as a Flower Maiden in Parsifal at The Metropolitan Opera with new Music Director Yannick Nezet-Seguin. Concert performances included Penderecki’s Credo with Indianapolis Symphony, Durufle’s Requiem with Back Bay Chorale, Bach’s Christmas Oratorio with The Cecelia Chorus of NYC. She was also heard in concert with Warren Jones at Manchester Music Festival and in a concert presentation of Das Rheingold with New York Philharmonic. Other recent performances include the role of Gabriele Bertolier for the Romanti Century’s production of Van Gogh’s Ear a The Pershing Square Signature Center in New York City and a concert entitled “Opera Italiana Forever Young” for Central Park Summer Concerts.

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Previously she was heard as Flosshilde in Gotterdammerung in her return to Houston Grand Opera and at National Taichung Theatre; Olga in Eugene Onegin with Boston Youth Symphony; Handel’s Messiah with Pacific Symphony; Beethoven’s Missa solemnis with Pacific Chorale; Mozart’s Requiem with Omaha Symphony and Rochester Philharmonic; and Beethoven’s Symphony No. 9 with San Diego Symphony. Additionally, she has been heard as Suzuki in Madama Butterfly with Toledo Opera, Flosshilde and Waltraute for Washington National Opera, Flosshilde in Gotterdammerung with Teatro Massimo di Palermo, Second Lady in Julie Taymor’s Magic Flute at The Metropolitan Opera, Third Lady in Magic Flute and Grimgerde in Die Walkure at Houston Grand Opera. Ms. Tatum also joined an international cast in Japan as Flora in Verdi’s La traviata, sang in Mahler’s Resurrection Symphony and Mozart’s Requiem with The Eastern Music Festival, and in Beethoven’s Symphony No. 9 with The Boston Symphony Orchestra at The Tanglewood Music Festival.

Additional concert appearances include Salome with Andris Nelsons and the Boston Symphony Orchestra, Mozart’s Requiem with Music Director Daniel Stewart and Santa Cruz Symphony, and Beethoven’s Symphony No. 9 with conductor Daniel Wachs and Orange County Philharmonic Society.

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Olivia Vote

Olivia Vote

Olivia Vote, mezzo-soprano

Olivia Vote
Olivia Vote

Lauded for her “theatrical magnetism” and “her big, rich voice,” American mezzo-soprano Olivia Vote joins the roster of the Metropolitan Opera in the 2018-19 season for the first time for productions of Die Walkure and Suor Angelica. She makes multiple house and role debuts throughout the season, beginning with the Inland Northwest Opera as Cherubino in Le nozze di Figaro, followed by the role of Komponist in Ariadne auf Naxos with Cincinnati Opera. Recent appearances include her debut with The Atlanta Opera as Mary in a new production of The Flying Dutchman, her role debut as Adalgisa in Norma with Opera Southwest, and her company debut with North Carolina Opera as Maddalena in Rigoletto. On the concert stage, she was heard in Rossini’s Stabat Mater with The Choral Arts Society of Washington, D.C. under the baton of Antony Walker, and in Durefle’s Requiem at The Kennedy Center. Other recent debuts include appearing with Sarasota Opera as Mère Marie in the Dialogues des Carmélites and Nicklausse in Les contes d’Hoffmann with Hawaii Opera Theater.

With Santa Fe Opera and Opera Philadelphia Ms. Vote worked on Jennifer Higdon’s exciting premiere of Cold Mountain. Also with Santa Fe Opera she participated in the workshop of the upcoming premiere of The (R)evolution of Steven Jobs, by Mason Bates and Mark Campbell in San Francisco. She sang the role of his wife, Laurene Powell. Olivia joined the world renown Hugo Wolf Quartet from Vienna and performed Respighi’s Il Tramonto and selections from Wolf’s Italienisches Liederbuch in Massachusetts and New York. She then collaborated with pianist Brain Ganz performing multiple song recitals and later went on to win second place at the esteemed Fort Worth McCammon Opera Guild Competition and first place at the Partners for the Arts, Inc. competition in Virginia.

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Ms. Vote returned to Opernhaus Zürich to sing Dryade in Ariadne auf Naxos with Fabio Luisi and Flora in a new production of La traviata under Maestro Armiliato. She first came to Switzerland from 2012-2014 for the Internationales Opernstudio at Opernhaus Zürich. Highlights of her performances during this period included singing Fidalma in Il matrimonio segreto, Philomene in Martinů’s Zweimal Alexandre, and as a soloist in Hans Neuenfels’s new production, Wie ich Welt wurde, a co-production with the Zürich Schauspielhaus about the life of Richard Wagner. In addition, she performed roles in Rinaldo, La traviata, Meistersinger, Salome, and Rigoletto and covered roles in Madame Butterfly, Alcina, La Straniera, and Falstaff.

Prior to beginning her time in Zürich, Ms. Vote participated as a Filene Young Artist with the Wolf Trap Opera Company. There she gained critical acclaim for her portrayal of Donna Elvira in Don Giovanni directed by Tomer Zvulum. She also covered the same role for the Los Angeles Philharmonic earlier that spring.

As a frequent concert artist, Ms. Vote was hailed by the Washington Post for “her big, rich voice that explored the nuances of the poetry.” Olivia has appeared as soloist in such works as Verdi’s Requiem, Pergolesi’s Stabat Mater, Beethoven’s Mass in C Major, Mahler’s Lieder eines fahrenden Gesellen and Das Lied von der Erde, and Ravel’s Sheherazade. She sang Schubert’s Mass in E flat with Ivor Bolton and the Rai National Symphony Orchestra in Torino, Italy.

An eager and passionate fan of modern music. Olivia has premiered several new roles and works. With the 21st Century Consort at the Smithsonian Institution in Washington D.C., she performed “Colors passing though us”, a chamber work written specifically for her by composer and friend David Froom. While at Opernhaus Zurich she created the role of Mary Hawkins in Frank Schwemmer’s Die Schatzinsel and at AVA she sang the world premiere of Margaret Garwood’s The Scarlet Letter as Hester Prynne.

In competition Ms. Vote has been a grand finalist in the Francesco Vinas Competition in Barcelona. She won second place in the Loren L. Zachary Society Competition, Alfredo Silipigni International Vocal Competition, and Gerda Lisner Foundation International Competition. She is a grant winner from the Licia Albanese-Puccini Foundation, has been a New England and Mid Atlantic regional finalist and study grant recipient in the Metropolitan Opera National Council auditions, was awarded a Sullivan Foundation Development Grant, and the Phyllis Curtin Career Award from Yale University.

L2 Artists, LLC

+1 (212) 419-2986

Home | Artists | Press | About | Contact

L2 Artists, LLC

+1 (212) 419-2986

106 West 32nd Street
Floor 2
New York, NY 10001

© L2 Artists 2018 Designed by Audrey Saccone / Copy by Patrick Kirkland