Manager: Michael Benchetrit
Management Territory: Worldwide
As Aida at Wolf Trap: "Soprano Marjorie Owens could project over the huge ensembles but also sing with delicate pianissimo at crucial points for the role ("Numi, pietà" and "O patria mia"). In those exquisite moments of Verdi soprano suffering, as the libretto puts it, Owens's pain was indeed sacred ("il suo dolor mi è sacro," as Amneris puts it), something meant for delectation." Charles T. Downey, Ionarts, July 27, 2015
As Freihild in Guntram with Washington Concert Opera: "Happily, the glory of “Guntram” coincided with the strength of Sunday night’s performance: Freihild, sung by the soprano Marjorie Owens. Strauss wrote the role for Pauline de Ahna, who became his wife shortly after “Guntram’s” 1894 premiere, and who remained his muse, despite her flinty personality, for the rest of his life. His love is apparent in the score: Every time Freihild comes on the scene, the whole orchestra heaves up in a river of gold, and Owens — who sang at Wolf Trap in 2008 before going on to the Dresdner Staatsoper — had the golden, easy voice to match it. Fortunately, Owens will return to Wolf Trap as Aida this summer." Anne Midgette, Washington Post, March 2, 2015
As Dorotka in Svanda Dudak with the Semperoper: "Soprano Marjorie Owens as Dorotka was the best singer in the cast. This soprano has a voice of remarkable quality, very homogeneous. She left a strong impression last year as Senta, and she has now confirmed it." Jose Maria Irurzun, Seen and Heard International, February 2, 2014
As Leonora in il trovatore with Ft Worth Opera: "First among equals, as Leonora, is soprano Marjorie Owens, a Virginia native and Baylor graduate who is clearly headed toward operatic superstardom. Owens owns a particularly spectacular upper range. She has volume to spare, and, apparently, the lungs of a pearl diver, enabling her to sustain high notes that are not only intense but beautiful. Although Leonora is not a role one associates with subtlety and finesse, Owens, drawing on a fine sense of musicality, created a constantly engaging rendition of an impetuous, love-stricken, and ultimately brave young woman. She is the sort of singer whose voice and presence on the stage enlivens an entire performance." Wayne Lee Gay, D Magazine, May 23, 2011
As Ariadne with Boston Lyric Opera: “Soprano Marjorie Owens gave a marvelous performance as the Prima Donna/Ariadne, building upon the Prima Donna's arrogance from the prologue in a way that few singers do to add just a touch of self-dramatization to Ariadne's sorrow in the opera proper. Noble and affecting as the abandoned princess, she gave a luminous reading of ‘Ein Schönes war, hieß Theseus-Ariadne’ (How beauteous once were Theseus and Ariadne) that captured the hollow devastation of a betrayed and broken heart.” Kalen Ratzlaff, Opera News, June 2010
A former member of the Sächsische Staatsoper in Dresden and a Grand Finals Winner of the Metropolitan Opera National Council Auditions, soprano Marjorie Owens is receiving a great deal of acclaim as one of the most exciting young dramatic sopranos to have recently come to the public’s attention.
In the 2016-2017 season, Ms. Owens returns to the Semperoper Dresden as Dorotka in Schwanda, to the Washington Concert Opera for the title-role in Beethoven’s Leonore, and to the roster of the Metropolitan Opera. In concert, she will be . . . heard as Senta in Der fliegende Holländer with the Saint Louis Symphony Orchestra and David Robertson. Future projects include debuts with the Canadian Opera Company and Opera Hong Kong and a return to the Metropolitan Opera.
Ms. Owens’s 2015-2016 season included her role and company debut in the title-role of Norma at the English National Opera, her company debut with Opera Theatre of St Louis in the title-role of Ariadne on Naxos, her return to the Semperoper as Senta in Der fliegende Holländer, a production she premiered in that theater, and a return to the Metropolitan Opera’s roster.
Ms. Owens’s 2014-15 season included her debut at the Metropolitan Opera as the title-role in Aida and a return to the Teatro Massimo di Palermo as Dorotka in Weinberger's Svanda. She returned to her home company in Dresden in a number of leading roles: first as the title role in Strauss’s Daphne, followed by performances of Senta in Der fliegende Holländer, Amelia Grimaldi in Simon Boccanegra, and Elisabetta in Don Carlo. Ms. Owens also returned to Wolf Trap for a gala concert performance of Aida. She reprised her success as Freihild in Guntram with the Washington Concert Opera, appeared in concert with her husband, baritone Quinn Kelsey, in a program of arias and duets with the Hawaii Symphony Orchestra as well as in a duo recital in Santa Fe and performed with the New York City Ballet in their Morgen program, a series of orchestrated Strauss songs.
Previously, Ms. Owens appeared in Dresden as Senta in Der fliegende Holländer, Elisabeth in Tannhäuser, Mimi in La Bohème, Ariadne in Ariadne auf Naxos, Dorotka in Švanda Dudák, Liù in Turandot and Freihild in Strauss’ rarely-performed Guntram. In addition to that, Ms. Owens appeared as Malwina in Marschner’s Der Vampyr with the New Orleans Opera and in her first performance of Strauss’ Four Last Songs in Palermo. Ms. Owens also made her Tanglewood debut singing the title-role in the Act II finale of Aida conducted by Jacques Lacombe.
In the 2012-13 season in Dresden, Ms. Owens made her debut as Senta in a new production of Der fliegende Holländer and continued to perform Italian roles such as Elisabetta in Don Carlo, Cio-Cio-San in Madama Butterfly, Mimi in La Bohème and Amelia in Un Ballo in Maschera. She returned to the Fort Worth Opera for one of her signature roles, the title role in Strauss’ Ariadne auf Naxos. Her extensive repertoire in Dresden also included Elsa von Brabant in Lohengrin, Leonora in Il Trovatore, Dorotka in Weinberger’s Švanda Dudák (new production), the Foreign Princess in Rusalka (new production), Elisabeth in Tannhäuser, Countess Almaviva in Le Nozze di Figaro, First Lady in Die Zauberflöte and Donna Anna in Don Giovanni.
Recent performances in the United States include Donna Anna in Don Giovanni with Des Moines Metro Opera and Leonora in Il Trovatore with the Fort Worth Opera. Prior to that Ms. Owens was heard as the title role in Ariadne auf Naxos at the Boston Lyric Opera and covered the title role in Aida at the Metropolitan Opera before making her debut as Gerhilde in Die Walküre with the Opéra National de Paris. In concert she also sang a recital for the George London Foundation in New York City, a concert of music by East German composers with the American Symphony Orchestra at Avery Fisher Hall and a recital of music by Weber at Bard College.
Marjorie Owens was a member of the Lyric Opera of Chicago’s Ryan Opera Center for two seasons. After receiving her Bachelors of Music from Baylor University, she was accepted into the Houston Grand Opera Young Artist Studio where she studied for four seasons. During her time there Ms. Owens sang Countess Almaviva in student matinees of Mozart’s Le Nozze di Figaro with HGO. She was also seen on the main stage in La Traviata, Jenufa, Lucia di Lammermoor, Il Trovatore, and Mark Adamo’s Lysistrata. In her first year with the Lyric Opera of Chicago, she covered Liù in Turandot and Madame Lidoine in Dialogues des Carmelites and in her second year she sang Annina in La Traviata, covered Alice in Falstaff and Tatyana in Eugene Onegin, apart from singing scenes from Barber’s Antony and Cleopatra with the Waukesha Symphony. In the summer of 2008 Ms. Owens sang the roles of Giulietta in Verdi’s Un Giorno di Regno and Ariadne in Ariadne auf Naxos at Wolf Trap, both to great critical and public acclaim. She also performed the Soprano solo in Beethoven’s Symphony No. 9 with the National Symphony and Emil de Cou.
Ms. Owens has won many awards and competitions; including being a Grand Finals winner of the Metropolitan Opera National Council Auditions, Top Prize in the 2010 Gerda Lissner Foundation Competition, the 2009 Leonie Rysanek award from the George London Foundation, Second Place in the 2009 Licia Albanese Puccini Foundation, a William Matheus Sullivan Grant, First Place in the Ft. Worth Marguerite McCammon Competition, First Place and the Audience Choice award in the Dallas Opera Guild Career Development Grant for Singers Competition, and Second Place in the McCollum Competition. Ms. Owens attended the Aspen Opera Theater Center in the summer of 2003, where she sang scenes from Tosca with David Zinman, and again in 2004 where she performed Ms. Jessel in The Turn of the Screw with Richard Bado. She also performed Viktor Ullmann’s Sechs Lieder with James Conlon and the Aspen Chamber Orchestra and then again with the Maestro and the Cincinnati Linton Chamber Orchestra. In the summer of 2005 at Wolf Trap, Ms. Owens sang Donna Anna in Don Giovanni with Ari Pelto. In past summers, she sang Fiordiligi in a concert version of Cosi fan tutte with the Lyric Opera Center for American Artists and Mimi in La Bohème with the Northwest Indiana Symphony.