Womenontheverge_2.JPG

at the Maison des étudiants canadiens in Paris

American lyric soprano Emily Martin has regularly received acclaim for her “enchanting iridescence” (The Sarasota Herald Tribune), and has been called “dramatically energetic and skillful” (The Philadelphia Inquirer).   Her “acting ability, seamlessly interwoven with her singing” (Charlotte Herald-Tribune) is apparent in her performances with such companies as the Santa Fe Opera (Peter Grimes), Palm Beach Opera (Thâis), Nevada Opera (Turandot), Chautauqua Opera (Cosi Fan Tutte), and Skylight Music Theatre (Midnight Angel, The Little Prince, Don Giovanni, and Rosina), among others.

The 2018/19 season finds Ms. Martin singing a concert of Offenbach with Choral Arts Sarasota, making concert debuts in London and Western Canada, and performing a recital celebrating Bernstein’s centennial at the US Embassy in Austria at the Amerika Haus.

During a busy 2017/18 season, Ms. Martin sang concerts around the United States, Canada, and Europe, including the world premiere of Emilie LeBel’s Blue of the Distance with the trio she co-founded Women on the VergeConcerts in Paris, New York, Texas, Perth, Toronto, and Maine rounded out the season.

The 2016/17 season featured Ms. Martin in opera, concert and recital repertoire around the United States.  Opera performances included Alice Ford (Falstaff) with Opera on the James, and as part of the Fisher Ensemble, she created the world premiere roles of Mary the Mother (The Passion Trilogy) and Martha Jefferson (Monticello Wakes) by Garrett Fisher, both in Los Angeles, CA.  Last season’s concert repertoire also included the role of Joan of Arc (Einhorn Voices of Light) with the Susquehanna Valley Chorale.

In recent seasons she was the soprano soloist for Handel’s Messiah (New England Symphonic Ensemble at Carnegie Hall), Whitbourn’s Annelise (Bucknell University Choir), Beethoven 9th and Mozart’s Requiem (Greely Philharmonic, CO)Brahms Requiem (Larimer Chorale, CO) Bach B Minor Mass and Gershwin Gala (Syracuse Symphony), Mahler Symphony No. 2 (Fargo-Moorhead Symphony), Strauss Vier Letze Lieder (University Symphony Orchestra, Boulder, CO), Knoxville: Summer of 1915 (Anchorage Festival of Music) Handel Judas Maccabaeus and Rutter Requiem (Connecticut Master Chorale), Charlotte Symphony, and Opera Grand Rapids Orchestra Gala.

Ms. Martin is a graduate of the University of Colorado Boulder (DMA), the Academy of Vocal Arts (Performance Certificate), and Boston University (BM).  She was awarded the Spencer Award Fellowship at CU Boulder, the highest award given to a graduate student.  In the past season, Ms. Martin was a Finalist in the International Vocal Vissi D’Arte Competition in Prague and the Friedrich and Virginia Schorr Memorial Award in Voice Competition

Rehearsal St. Brides.jpg

In rehearsal in London

As a Finalist in the Llangollen International Singer Eisteddfod, she appeared on Welsh National Television with the Royal Liverpool Philharmonic under the baton of Yves Abel.  She has participated in the Santa Fe Opera Apprentice Program for Singers, the Chautauqua Opera Young Artist Program, the Virginia Opera Emerging Artist Program, and as a Phyllis Curtin Seminarian at the Tanglewood Music Center.

Amerika Haus.jpg

In vienna

Ms. Martin is on the faculty of Bucknell University as Assistant Professor of Music and Director of Bucknell Opera Theatre. She has conducted masterclasses for young singers in United Kingdom, Iceland, New Zealand, Australia, and across North America at the University of Toronto, Virginia Tech, Texas Tech University, University of Mississippi, University of Toronto Annual Choral Symposium, and Augustana College.  In 2012, Ms. Martin was one of 12 voice teachers from across the country selected for the prestigious National Association Teachers of Singing (NATS) Internship Program.


Selected Reviews

Afternoon of Operetta (Choral Artists of Sarasota) “Soprano Martin wowed us with her note-perfect portrayal of Olympia, the mechanical doll in “Les Oiseax dans la charmille” from “The Tales of Hoffmann.” Called “the most insane aria for soprano,” it is arguably among the most difficult with its coloratura demands and tight staccato pops. Martin played it to the hilt..”

“meeting the lovely Mabel, sung by Martin who sparkles in anything she sings.”
-Gayle Williams, Sarasota Herald Tribune (5/2019)

Fiordiligi in Cosi Fan Tutte (Chautauqua Opera):
Ms. Martin was Fiordiligi, the soprano of the pair. Her voice was light and very clear, and it wound itself fetchingly around all the composer's intricate twists and bends.”
-Robert W. Plyler, The Post Journal

Susanna in Le Nozze di Figaro (Chattanooga Symphony and Opera)
CSO PRESENTS EXQUISITE FIGARO [Headline] "Burns and lyric soprano Emily Martin as Susanna make a feisty central couple, their voices strong and persuasive."
-Nikki C. Hasden, Chattanooga Times Free Press

Niece 2 in Peter Grimes (Santa Fe Opera)
“Emily Martin and Bronwen Forbay made an alluring pair of “nieces” for Auntie."
-Craig Smith, The Santa Fe New Mexican

Curley’s Wife in Of Mice and Men (Opera Grand Rapids)
"Lyall outdid himself with the casting of versatile actors and gutsy singers. Martin captivated the audience with the much meatier part as a woman hungry for attention. While singing some gol’ darn difficult music with a gossamer voice, Martin shrewdly played a complex, calculating woman who’s flirtatious, manipulative, sweet and self-absorbed all at once.”
-Jeffrey Kaczmarczyk, The Grand Rapids Press

Afternoon of Operetta (Choral Artists of Sarasota) “Martin then sang an excellent “The Doll Song” from Offenbach’s “Tales of Hoffmann,” showing off her clear and vibrant soprano voice at its best, which was followed by the lovely “Barcarolle,” with Martin and Rishoi creating a lovely mood.”
-Edward Alley, Sarasota Observer (5/2019)

Musetta in La Boheme (Opera Birmingham)
Soprano Emily Martin played Musetta with appropriate flightiness. Martin adapted nicely from sassiness to bright radiance.”
-Michael Huebner, The Birmingham News

La Charmeuse in Thäis (Palm Beach Opera)
Lyric soprano, Emily Martin as Charmeuse added coloratura sparkle and dazzling visual interest as the scarlet-garbed entertainer with her four accompanying graceful dancers.”
-R. Spencer Butler, Palm Beach Daily News

Liu in Turandot (Nevada Opera)
"Emily Martin…gives outstanding performances [HEADLINE] The two outstanding members of the cast are Martin, as Liu, whose strong, emotional voice brings oomph to her big third-act scene …"
-Richard LaComte, Reno Gazette-Journal

Donna Anna in Don Giovanni (Skylight Opera Theatre)
“It opens with Martin in a sexual romp with Don Giovanni. Not too many lyric sopranos would look so fetching as Martin does in heels, stockings, garter belt and bustier; fewer still would dive out of a window with such agility when the Commendatore barges in. That’s a brilliant shift from the usual portrayal of Anna as innocent victim. It raises the possibility of a much more conflicted character, and Martin makes the most of her. Here, in a courageous performance, she’s a spoiled, promiscuous, coke-sniffing bottle-blond, still sexy but hard and old before her time. She put an edge on her voice, too, and made Anna a chilling, compelling mess.”
-Tom Strini, Milwaukee Journal Sentinel


Work

Alice Ford Falstaff
Mary, the Mother The Passion Trilogy world premiere
Martha Jefferson Monticello Wakes world premiere
Countess Le Nozze di Figaro
Susannah Susannah
Violetta La Traviata
Donna Donna The Abduction of Figaro (PDQ Bach)
Mimi La Boheme
Fiordiligi Cosi Fan Tutte
Countessa dei Candini Midnight Angel
Musetta La Boheme
La Charmeuse Thäis
Susanna Le Nozze di Figaro
Casilda The Gondoliers
Niece 2 Peter Grimes
Lucy The Telephone
Liu Turandot
Water The Little Prince
Curley's Wife Of Mice and Men
Donna Anna Don Giovanni
Micaela Carmen
Rosina Rosina (Titus)
Adele Die Fledermaus
Norina Don Pasquale
Gretel Hansel and Gretel
Nella Gianni Schicchi
Zan Regina
Lauretta Gianni Schicchi
Pamina Die Zauberflote
Valencienne The Merry Widow
Zerlina Don Giovanni
Rose Maybud Ruddigore
Oscar Un Ballo in Maschera
Lisa Countess Maritza
Rose Street Scene

Women on the Verge Atelier Concert, Paris
Offenbach selections Choral Artists of Sarasota
Women on the Verge St. Bride's Recital Series, London
Women on the Verge Borough New Music London
Women on the Verge Pro Arts Society@Noon, Calgary Women on the Verge University of Calgary
Women on the Verge NW Focus Live Radio, Seattle
Women on the Verge University of Lethbridge
Women on the Verge Pacific Lutheran University
Glitter and Be Gay: Bernstein at 100 Amerika Haus
Recital Farnsworth Museum, Rockland, Maine
Women on the Verge Les Arts George V Series, Paris
World Premiere Canadian Music Centre
Women on the Verge Texas Tech University
Recital University of Mississippi
Recital University of Memphis
Women on the Verge  Quinte Society for Chamber Music
Voices of Light/The Passion of Joan of Arc
Susquehanna Valley Chorale
Recital Civic Morning Musicals Series, Syracuse
Recital Virginia Tech
The Leading Ladies of Lieder St. George's Cathedral Recital Series, Kingston, ON,
Recital Fine Tuned Society of Boulder
The Leading Ladies of Lieder Arts and Letters Club of Toronto
Recital Augustana College
Candlelight Christmas Concert Susquehanna Valley Chorale
Recital Fox Islands Concert Series
Recital Bay Chamber Concert Series
Brahms Ein deutsches Requiem Larimer Chorale
50th Anniversary Concert Fox Islands Concert Series
Mozart Requiem Greeley Philharmonic Orchestra
Dave Grusin Faure Pavane Conference of World Affairs, Boulder, CO
Beethoven Ninth Symphony Greeley Philharmonic Orchestra
Mahler No. 2 Fargo-Moorhead Symphony
Gershwin Gala Syracuse Symphony
Handel Messiah New England Symphonic Ensemble
Handel Judas Maccabaeus Connecticut Master Chorale
35th Anniversary Opera Gala Opera Grand Rapids
Rutter Requiem Connecticut Master Chorale
Recital Artist Series of Sarasota
Bach Mass in b minor Syracuse Symphony
Handel Messiah Hartford Symphony Orchestra
Ein Deutsches Requiem & Knoxville: Summer of 1915 Anchorage Festival of Music
Recital Isabella Stewart Gardner Museum