Manager: William G. Guerri
Management Territory: Worldwide
"The large cast is first-rate. It’s headed by soprano Ashley Emerson, perfectly cast in the title role. She’s an adorable Alice who whips off coloratura and cartwheels with equal aplomb and displays a fine sense of humor.” Sarah Bryan Miller, St. Louis Post-Dispatch
"...the evening belonged to Emerson, and the consistency of her musical energy, immaculate technique and physical grace made the role of Marie seem much easier than it is...(her sound) is concentrated and sweet, especially when soaring into its upper reaches. Emerson is a real professional, and her artistry includes plenty of panache for the extroverted numbers...as well as lovely line for more intimate moments." Opera News, Judith Malafronte
"As Marie, Ashley Emerson uses her lovely soprano to make creative use of Donizetti's melodies and have fun with the freedom they allow. She understands when to grab center stage with a finely crafted vocal run, but she knows to stay in character and context while pulling it off." Riverfront Times, Lew Prince
With her sparkling voice and stage presence, soprano Ashley Emerson has been described as a "vocal and dramatic delight". Performances in 2016-2017 include the role of Gretel in Hansel and Gretel with the Seattle Opera, Cunegonde in Candide with Opera National de Bordeaux and the Theatre du Capitole in Toulouse, and Flora in Turn of the Screw with the Dallas Opera.
Last season, Ms. Emerson returned to the Metropolitan Opera for William Kentridge’s new production of Berg’s Lulu and for performances of Barbarina in Le nozze di Figaro. Last . . . season, Ms. Emerson performed Soeur Constance in Dialogues des Carmelites at Washington National Opera, Tebaldo in Don Carlo in a new production for Opera Philadelphia, and Blondchen in Die Entführung aus dem Serail with Des Moines Metro Opera. At the Met, she was heard as Papagena in Die Zauberflöte, and the Bloody Child in Macbeth.
Notable recent North American engagements include her debut with Washington National Opera as Papagena, as well as two role debuts in the French repertoire; Olympia in Les Contes d’Hoffmann at Palm Beach Opera, and Sister Constance in Dialogues of the Carmelites at Opera Theatre of St. Louis. At the Met, which serves as her artistic home, Ms. Emerson sang in the highly anticipated productions of Die Frau ohne Schatten and the American premiere of Nico Muly’s Two Boys. Additional Met engagements include Papagena in Die Zauberflöte, as well as performances in Le comte Ory and the company’s new production of Le nozze di Figaro.