Christin Marie Hill – dramatic mezzo-soprano
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.
2014 begins for Christin Marie Hill as soloist in Verdi’s Requiem with the Arkanas Symphony under the baton of Philip Mann, and she will sing Maddalena in Rigoletto with PORTopera under Stephen Lord. In the 2012-13 season she sang Mrs. Miller in Douglas J. Cuomo’s opera Doubt (in the only New York preview at the Guggenheim Museum), covered this role for its world premiere at Minnesota Opera in January 2013, and made her debut as Amneris with the Pazardzhik Symphony Orchestra in the Stadthalle in Bayreuth in Germany.
Career highlights in previous seasons were: 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 Queller, 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 alreday 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.