Marjorie Owens

Marjorie Owens


Vocalists — Soprano

As Leonore in "Leonore" with Washington Concert Opera: "Soprano Marjorie Owens was a major discovery when she starred in Strauss’s Ariadne auf Naxos at Wolf Trap Opera in 2008, and her voice has blossomed in the intervening years. In the title role she was intense and refined, an aristocratic presence with a voice of silken softness as well as laser-focused volume that sailed over the massed instruments and chorus. Her Act II showpiece, “Abscheulicher… Komm, Hoffnung,” complete with a sort of accompanied melodrama introduction, was a dramatic highlight." —Charles T. Downey, Washington Classical Review, March 6, 2017

As Norma at the English National Opera: " Fortunately, fast-rising American soprano Marjorie Owens has the necessary star quality—and vocal stamina. Owens’s voice is at the fruitier end of the spectrum, but her ample vibrato never overpowered or hampered elegance, agility or beauty of line. With her full figure and magnificently regal dress, she was also a strong dramatic presence as the Druid priestess." —Graham Rogers, Opera News, March 2016

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 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

About

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 . . .

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    • Photo: Simon Pauly
      Photo: Simon Pauly
    • Photo: Simon Pauly
      Photo: Simon Pauly