Manager: Damon Bristo
Management Territory: Worldwide
"Melton sang her first monologue with vocal richness of detail. She also sang pianissimi with incredibly lyrical qualities, displaying the diversities of her gorgeous and nuanced soprano. In unusual beauty, the voice unfolded in heartfelt emotion with the passage "Er sah mir in die Augen". Without blemish, flourishing in tone, dynamically dramatic outbursts, overpowering the orchestra with sonorous, stunning volume, coupled with dreamlike piani and in the love duet, she displayed an all-embracing, overwhelming vocal focus. Brimming soft, glowing arches gave Heidi Melton the final Liebestod an almost mystical transfiguration." Gerhard Hoffmann, Der neue Merker, March 28, 2016 - Isolde in 'Tristan und Isolde' at Badisches Staatstheater Karlsruhe
"Melton, who was outstanding singing Brünnhilde alongside Eric Owen’s Wotan with the New York Philharmonic in January, was superb again. She sang with a ringing, vibrant tone, and a way of phrasing that was natural and ideal. Her characterization was full of human, rather than grandiose, dignity." George Grella, New York Classical Review, February 28, 2016 - Brünhilde's Immolation Scene with the Vienna Philharmonic at Carnegie Hall
"And so it went with the rest of the weekend’s Wagner: compelling excerpts from “Götterdämmerung” on Saturday, with the soprano Heidi Melton giving full, rich voice to Brünnhilde’s Immolation Scene." James Oestreich, New York Times, March 2, 2016 - Brünhilde's Immolation Scene with the Vienna Philharmonic at Carnegie Hall
“Nagano had surrounded himself with seasoned singers. The most surprising was Heidi Melton, who had obviously worked her Sieglinde with a director or a particularly inspiring leader. She knows every corner of the character's mood, she sings with an impressive chest voice, but also a rare intelligence. This is a major incarnation, certainly one of the top three in the world currently.” Christophe Huss, Le Devoir, May 28, 2015 - Act 1 of 'Die Walküre' with the Montreal Symphony Orchestra
"Isolde is hard because you have to make yourself heard over the full orchestra, and lots of singers approach it by simply pumping out sound. Melton, instead, treated it simply like beautiful music, and made the aria work with her voice rather than shoehorning her voice into a conception of what the aria requires. What made her singing wonderful was not volume — though her voice is by no means small — but freshness and feeling. From the moment she opened her mouth, she was artlessly moving, actually communicating what the words meant, so that all of the encrusted expectations around the role fell away to remind you that this scene depicts not a Pinnacle of the Repertory but a woman who is finally reunited with her true love, only to see him dead." Anne Midgette, Washington Post, February 17, 2013 - Isolde's Liebestod with the Baltimore Symphony Orchestra
The young American dramatic soprano Heidi Melton has been called “the Wagnerian voice we have been waiting for since Flagstad and Nilsson” (La Presse), a voice that is “big, gleaming and tonally resplendent” (San Francisco Chronicle).
In the 2016/2017 season, dramatic soprano Heidi Melton makes her role debut as Brünnhilde in new productions of Die Walküre and Siegfried, both at Badisches Staatstheater Karlsruhe. She also debuts with the London Symphony Orchestra and Berlin Philharmonic in Ligeti’s Le grand macabre under Simon Rattle. She returns to the Hong Kong Philharmonic in concert . . . performances of Siegfried which will be recorded for Naxos and Quad City Symphony for Strauss’s Four Last Songs and Isolde’s “Liebestod”. In the US, Ms. Melton also debuts at Houston Grand Opera as Gutrune in Götterdämmerung. She recently debuted with the Vienna Philharmonic singing Brünnhilde’s “Immolation Scene” from Götterdämmerung under the baton of Valery Gergiev, both in Vienna at the Musikverein and in New York at Carnegie Hall. She made her New York Philharmonic debut with Alan Gilbert in Strauss Lieder and Act 3 of Die Walküre as Brünnhilde. For the Hong Kong Philharmonic with Jaap van Zweden, she sang Sieglinde in complete concert performances of Die Walküre (also recorded on Naxos). She returned to the Deutsche Oper Berlin as Venus/Elisabeth in Tannhäuser with Donald Runnicles, as well as to Badisches Staatstheater Karlsruhe for her first performances as Isolde in a new Christopher Alden production of Tristan und Isolde conducted by Justin Brown. Ms. Melton debuted at the English National Opera in a new production of Tristan and Isolde conducted by Edward Gardner.
Heidi Melton recently debuted at Oper Frankfurt in two new productions: first as Gertrude in Hänsel und Gretel, then as Eglantine in Weber’s Euryanthe. A favorite to the audiences in Berlin, she has been seen at the Deutsche Oper in Der Ring des Nibelungen, first as Gutrune and the Third Norn under Simon Rattle, then as Sieglinde, Gutrune, and the Third Norn under Donald Runnicles. In Berlin, She has also sung Elsa in Lohengrin, Amelia in Un ballo in maschera, Fata Morgana in a new Robert Carsen production of Love for Three Oranges, and Gertrude in Hänsel und Gretel. Ms. Melton debuted as Sieglinde under the baton of Zubin Mehta at Palau de les Arts Reina Sofía in Valencia and at the Canadian Opera Company with Johannes Debus. Her first Siegfried Brünnhilde was heard in concert with Opéra National de Bordeaux and she had a successful return to the Metropolitan Opera as the Third Norn in the new Robert Lepage production of Der Ring des Nibelungen under Fabio Luisi, which was released commercially on Deutsche Grammophon.
Ms. Melton made her Italian debut under Kirill Petrenko with Orchestra Sinfonica Nazionale della RAI in Torino as Gutrune and the Third Norn in a concert performance of Götterdämmerung, and made her debut at the BBC Proms as Elisabeth in a concert performance of Tannhäuser with Donald Runnicles and the BBC Scottish Symphony Orchestra. In frequent demand by many orchestras and conductors, Ms. Melton has been heard with Dallas Symphony under Jaap van Zweden, BBC Scottish Symphony under Donald Runnicles, and Montreal Symphony Orchestra with Kent Nagano in Act 1 of Die Walküre; the Baltimore Symphony in Act 1 of Die Walküre and Isolde’s “Liebestod” under Marin Alsop and Four Last Songs with Markus Stenz; the Netherlands Radio Philharmonic Orchestra in Eine Lebensmesse by Jan van Gilse under Markus Stenz and Foreign Princess in Rusalka with James Gaffigan; at the Festival de Lanaudière singing Elsa in Lohengrin under Yannick Nézet-Séguin with his Orchestre Métropolitain and an opening season gala concert singing Wagner; at the Aspen Music Festival under Robert Spano in Mahler’s Symphony No. 8 (“Symphony of a Thousand”) and a Wagner/Verdi program; Real Filharmonía de Galicia in Wagner’s Wesendonck-Lieder under Paul Daniel; and in Verdi’s Messa da requiem for Donald Runnicles’ farewell concert as Music Director of San Francisco Opera. Ms. Melton made her New York recital debut at Pace University’s series “Voce at Pace” and returned to San Francisco for a recital at San Francisco Performances, both with pianist John Parr. She opened a special gala celebrating 100 years of the Deutsche Oper Berlin singing Elisabeth's Greeting to the Hall of Song.
Ms. Melton made her Metropolitan Opera debut as the Second Maid in Elektra under Fabio Luisi. A former Adler Fellow at the San Francisco Opera, she made her role debut as Sieglinde in Der Ring des Nibelungen at San Francisco Opera in a production by Francesca Zambello and conducted by Donald Runnicles. At Opéra National de Bordeaux, she has been seen in Ariadne auf Naxos, Tannhäuser, and Un ballo in maschera. For North Carolina Opera, Ms. Melton sang her first performances of Tristan und Isolde in a concert version of Act 2, as well as the Foreign Princess in Rusalka. She was a member of the ensemble at Badisches Staatstheater Karlsruhe where she sang new productions of Lohengrin, Les Troyens, Tannhäuser, Peter Grimes, Un ballo in maschera, Die Fledermaus, as well as revival performances of Der Rosenkavalier and Der Ring des Nibelungen.
Ms. Melton is the recipient of many prestigious awards and prizes: George London Foundation’s George London / Kirsten Flagstad Memorial Award; José Iturbi Competition; Sara Tucker Study Grant from the Richard Tucker Music Foundation; third place in the Belevedere Competition; national semi-finalist at the Metropolitan Opera National Council Auditions; and winner of the Mario Lanza Competition.
(Updated August 2016)