Praised as a “powerful, warm-hued mezzo-soprano” by the New York Times and “majestic in voice and appearance” by the Boston Globe, the young American mezzo-soprano Christin-Marie Hill is captivating audiences and critics alike with her thrilling performances.
The 2014-15 season began for Ms. Hill as soloist in Verdi’s Messa da Requiem with Arkanas Symphony under the baton of Philip Mann. She went on singing Maddalena in Rigoletto with PORTopera under Stephen Lord, and returned to Verdi’s Requiem, this time with the Neubrandenburger Philharmonie in Germany. In 2015-16 she performed in the European premiere of John Harbison’s The Great Gatsby at the Semperoper Dresden, and in 2017 she will make her debut as Mary Magdalene in John Adams’ The Gospel According to the Other Mary with Oper Bonn and appear as Monisha in Joplin’s Treemonisha with Mississippi Symphony Orchestra.
Career highlights in previous seasons included: Mrs. Miller in Douglas J. Cuomo’s opera Doubt (in the New York preview at the Guggenheim Museum and as cover for the world premiere at Minnesota Opera – 2013), Amneris with the Pazardzhik Symphony Orchestra in the Stadthalle in Bayreuth in Germany, Monisha in Scott Joplin’s Treemonisha at the Théatre du Châtelet, Hanna Pitt in Peter Eötvös’ Angels in America at the Oper Frankfurt, Petrovna in Nikolai Rimski-Korsakov’s The Tsar’s Bride at Carnegie Hall with the Opera Orchestra New York under Eve Queler, Anna in Les Troyens with the Boston Symphony Orchestra under James Levine, Leokadja Begbick in The Rise and Fall of the City of Mahagonny and Stella in the American premiere of Elliot Carter’s What Next?, both with Tanglewood Festival, the role of the Sorceress in Dido and Aeneas with the Mark Morris Dance Company in New York, Dido in Dido and Aeneas with the Kansas Opera Theater as well as Tisbe in La Cenerentola and Gertrude in Roméo et Juliette, both with the Lyric Opera of Kansas City.
An avid concert and oratorio soloist, Ms. Hill’s extensive list of concert credits include Mahler’s Symphony No. 2 (Memphis Symphony, Anchorage Symphony, Des Moines Symphony), Beethoven’s Symphony No. 9 (Arkansas Symphony, Richmond Symphony, Memphis Symphony) Brahms’ Alto-Rhapsody (Memphis Symphony), Mendelssohn’s Elijah (Utah Festival Opera Orchestra), Verdi’s Requiem (Lynn Philharmonia), Bach’s B-minor Mass and Handel’s Messiah (both with Blacksburg Chorale of Virginia) as well as Donald Sur’s large oratorio Slavery Documents (Atlanta Symphony).
As a young artist she already had the chance to interpret roles such as Dalila in Samson et Dalila and Baba the Turk in The Rake’s Progress under the auspices of San Francisco Opera’s Merola Program. After completing her training in San Francisco she was a resident artist for two years at the Minnesota Opera singing Jezibaba in Rusalka, Ulrica in Un Ballo in Maschera and covering Isabella in L’Italiana in Algeri. A native of Evanston, Illinois, her distinctions include a fellowship in voice from the University of Illinois as well as career grants from the San Francisco Opera, the Rislov Foundation, the Kaplan Foundation, and the 2005 Elardo International Opera Competition. Ms. Hill holds bachelor’s degrees in French literature and sociology, and a master’s degree in vocal performance from the University of Illinois.