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, June 2012, Alice in U.S. Premiere of Alice in Wonderland with Opera Theatre of Saint Louis
"...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, Marie in The Daughter of the Regiment with PORTopera
"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, June 2011-Marie in The Daughter of the Regiment with Opera Theatre of Saint Louis
With her sparkling voice and stage presence, soprano Ashley Emerson has been described as a "vocal and dramatic delight". In the 2014-15 season, she will be busy at the Metropolitan Opera singing Papagena in Die Zauberflote, the Bloody Child in Macbeth, and Barbarina in Le nozze di Figaro, in a new production by Richard Eyre. She will also perform Soeur Constance in Dialogues des Carmelites at Washington National Opera, and Tebaldo in Don Carlo in a new production for Opera Philadelphia.
At the Met, which serves as . . . her artistic home, Ms. Emerson sang in the highly anticipated productions of Two Boys and Die Frau ohne Schatten. Additional engagements at the Met include Papagena in The Magic Flute as well as performances in Le comte Ory and the classic Jonathan Miller production of Le nozze di Figaro.
Notable recent North American engagements include her debut with the Washington National Opera as Papagena, as well as two role debuts in the French repertoire- the first as Olympia in Les Contes d’Hoffmann at Palm Beach Opera, and Soeur Constance in Dialogues of the Carmelites at Opera Theatre of St. Louis.
Further performances included her Atlanta Opera debut as Violet Beauregard in The Golden Ticket, conducted by the composer Peter Ash, as well as a return to Atlanta debut the role of Elvira in L’italiana in Algeri. She also saw performances with Pittsburgh Opera as Blondchen in Die Entführung aus dem Serail, and also made a role debut as Adina in L’elisir d’amore with Opera North (USA).
Frequently sought after in contemporary music, Ms. Emerson most recently had triumphs as The Maid in Powder Her Face by Thomas Ades at Opera Philadelphia, as Emily in Our Town by Ned Rorem at Central City Opera, and as the title role in Unsuk Chin's Alice in Wonderland at Opera Theatre of St. Louis. She created the role of Young Amelia in the world premiere of Daron Hagen's Amelia at Seattle Opera, and is on the first commercial recording of Peter Ash's opera The Golden Ticket singing Violet Beauregarde.
Concert engagements include an appearance with the Missouri Chamber Music Festival in a program of Schubert (Der Hirt auf dem Felsen) and Debussy, the White Mountain Musical Arts: Bach Festival, Mozart’s Requiem in a joint project with the Choral Art Society of Maine and Portland Ballet; as well as Blondchen in Die Entführung aus dem Serail with Boston Symphony Orchestra at Tanglewood Music Festival. Ms. Emerson was a featured soloist with the Bangor Symphony Orchestra singing arias from Mozart’s Zaide, where she was described as “sweet, defiant, and sensual, Emerson has the deep, gutsy sense of urgency that lends any opera singer an air of dramatic authenticity” (Bangor Daily News).
Additional career highlights include Marie in La fille du regiment with both Opera Theatre of St. Louis and PORTopera, Blondchen in Die Entführung aus dem Serail at Pittsburgh Opera, and Flora in Turn of the Screw for her Los Angeles Opera debut, conducted by James Conlon.
Ms. Emerson is a recent graduate of the Metropolitan Opera's Lindemann Young Artist Development Program, and has been a mainstay on the Met stage in recent seasons in roles such as Barbarina, Papagena, and the Dew Fairy. She has been seen worldwide on the Met's "Live in HD" series in productions of The Enchanted Island, La rondine, and Macbeth. Ms. Emerson is a certified yoga instructor in the vinyasa style, and makes her home in Manhattan with her dog Louis.