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Soprano Karen Anderson
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American lyric-spinto soprano, Karen Anderson has received consistent praise for her operatic and concert performances. She performed title role of Turandot with the Lancaster Music Festival with a live National Public Radio broadcast, and with Cincinnati Opera in the role of Kitty Hart in Dead Man Walking. She triumphed in performances of Suor Angelica and Tosca to considerable acclaim with California’s Festival Opera.
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Ms. Anderson has performed the title roles in the baroque Alcina and Agrippina, the classical Donna Elvira in Don Giovanni and Pamina in Die Zauberflote and the bel canto in Donizetti’s Maria Padilla. The favorites of the Romantic literature include Mimi in La Boheme, Amelia in Un Ballo in Maschera, Alice Ford in Falstaff, Marguerite in Faust, Nedda in I Palgiacci, Violetta in La Traviata, and Liu in Turandot, with opera companies including Arizona, Eugene, Marin, Sacramento, SanFrancisco Pocket Opera, Spokane, Utah, and West Bay Opera.
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On the concert front she has performed Mendelssohn’s Elijah in Israel with the Jerusalem Symphony, Beethoven’s Ninth Symphony, Mahler 4th Symphony, Strauss’ Four Last Songs, and many other works with professional orchestra throughout the United States and abroad. Ms. Anderson has also been a guest soloist with the Mormon Tabernacle Choir on a live televised broadcast. Other works include the Dona Nobis Pacem by Vaughn Williams with the Sacramento Choral Society and the Verdi Requiem with the San Francisco Community Chorus and the San Francisco Choral Society at Davies Symphony Hall. Most recently Ms. Anderson performed for the National Harp Convention.
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Ms. Anderson has an array of vocal awards including National Finalist in the Metropolitan Opera National Council Auditions, International Semi-Finalist in the Rosa Ponselle Competition, and Semi Finalist in the MacAllister Opera Competition.
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She enjoys living and teaching voice in Martinez.
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Coaches -
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Nico Castel, Kathy Cathcart, Peter Grunberg, Monroe Kanouse, Kelly Kuo James Merrideth, Marcie Stapp, William Vendice
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Conductors -
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Anton Coppola, Frank Graffeo, Henry Holt, Donald Kendrick, Stephan Lano, Daniel Lipton, Uri Mayer, Larry Marrieta, Michael Morgan, Sandor Salgo, Gary Sheldon, Joseph Silverstein, David Sloss, Sebastian Weigle
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Voice Teachers -
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Blanche Christensen and Jim Toland
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Operatic Roles
(Performed with Orchestra)
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Composer
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Work
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Role
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Venue
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Bizet
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Carmen
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Micaela
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Utah Opera
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Donizetti
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Maria Padilla
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Maria Padilla
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Pocket Opera
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Gounod
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Faust
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Marguerite
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Sacramento Opera
Spokane Opera
Utah Opera (cover)
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Handel
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Alcina
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Alcina
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Pocket Opera
3 productions
Chamber Music Society of Sacramento
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Heggie
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Dead Man Walking
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Kitty Hart
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Cincinnati Opera
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Leoncavallo
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Pagliacci
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Nedda
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Arizona Opera
Eugene Opera
Nevada Opera Theater
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Mozart
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Don Giovanni
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Donna Elvira
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Utah Opera
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Mozart
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Die Zauberfloete
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Pamina
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Boise Opera
Utah Opera
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Puccini
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La Boheme
Suor Angelica
Tosca
Turandot
Turandot
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Mimi
Angelica
Floria Tosca
Liu
Turandot
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Eugene Opera
Festival Opera
Festival Opera
Utah Opera
Lancaster Music Festival
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Strauss J.
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Die Fledermaus
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Rosalinda
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Boise Opera
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Strauss R.
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Elektra
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Overseer
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Cincinnati Opera
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Verdi
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Un Ballo in Maschera
Falstaff
La Traviata
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Amelia
Alice Ford
Violetta
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West Bay Opera
Utah Opera
Utah Opera (cover- Roberta Peters)
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Composer
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Work
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Venue
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Bach
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Cantata 51
Cantata 202
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Pro Musica, Utah
Stanford Masterworks
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Beethoven
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Ninth Symphony
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Pacific Coast Symphony
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Brahms
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Requiem
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Contra Costa Chorale
San Francisco City Chorus
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Handel
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Messiah
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Utah Symphony
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Haydn
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Mass in Time of War
Missa Brevis
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College of Notre Dame
Peninsula Masterworks
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Lerner and Loewe
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Selections
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Sacramento Choral Society
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Mendelssohn
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Elijah
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Jerusalem Symphony
San Francisco City Chorus
San Jose Sym. Choir
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Mahler
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4th Symphony
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Pro Art Symphony
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Mozart
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Requiem
Coronation Mass
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Fremont Symphony
Peninsula Masterworks
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Pergolesi
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Stabat Mater
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Peninsula Masterworks
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Poulenc
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Gloria
Stabat Mater
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Diablo Valley Masterworks
Peninsula Masterworks
Contra Costa Chorale
San Francisco City Chorus
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Rossini
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Petite Messe Solennelle
Stabat Mater
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Peninsula Masterworks
Peninsula Masterworks
Contra Costa Chorale
San Francisco City Chorus
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Ravel
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Sheherazade
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Pro Art Symphony
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Rodgers & Hammerstein
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Selections
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Sacramento Choral Society
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Strauss
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Four Last Songs
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Pro Art Symphony
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Vaughan Williams
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Dona Nobis Pacem
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Sacramento Choral Society
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Verdi
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Requiem
Requiem
Requiem
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San Francisco City Chorus
Diablo Valley Masterworks
San Francisco Choral Society
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Vivaldi
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Gloria
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Church of the Nazarene
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Vivaldi
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Gloria
Magnificat
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Church of the Nazarene
Peninsula Masterworks
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Villa-Lobos
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Bachianas Brasileiras
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Pro Art Symphony
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Von Weber
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Mass in G Major
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San Francisco City Chorus
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As Turandot:
Soprano Karen Anderson…..Her voice is neither harsh nor coarse, nor is her physique monumental, thus making for a lovely ice queen in sight and sound.
Barbara Zuck, Columbus Dispatch
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As Alcina:
Soprano Karen Anderson delivered a strong, poised, polished, suitably dramatic and powerfully well-sung vocal performance. The high notes were pure and true ….making the varying emotions felt as well as dealing with the floridity and the high notes.
William Glackin, Sacramento Bee
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Bachianas Brasileiras:
Anderson brought pure, lustrous tone to the dreamlike “Aria (Cantilena)” that begins the piece……the second movement, “Danza” which evokes the music of songbirds and nature, was richly atmospheric.
Georgia Rowe, Contra Costa Times
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Four Last Songs by Strauss:
Anderson’s voice was an ideal choice for the material. She gave each song a performance as natural, unforced and deeply meditative as it was technically brilliant. Anderson shaped the long, complex phrases into glorious musical statements.
Georgia Rowe, Contra Costa Times
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As Suor Angelica:
Soprano Karen Anderson with her beautiful, warmly colored soprano, enhanced by her fine dramatic sense, created a sympathetic and eloquent Suor Angelica.
Cheryl North, Oakland Tribune
Karen Anderson sang Angelica sympathetically and strongly
Joshua Kosman, San Francisco Chronicle
Karen Anderson -last year’s Tosca- gives a mesmerizing performance as Angelica. Her pure, radiant soprano carries the soaring vocal lines with assurance, breathing life into every note. Her “Senza Mamma” one of the composer’s greatest arias-is heartbreakingly beautiful, and her final scene is movingly transcendent.
Georgia Rowe, Contra Costa Times
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As Tosca:
The Tosca role was splendidly sung by Karen Anderson, a soprano whose voice projected like a beam of light. As an actress, Anderson came into her own in the great second act…when Anderson poured out Tosca’s grief in the eloquent "Vissi d’arte," the effect was stunning.
Marilyn Tucker, Contra Costa Times
Anderson created a luminous Tosca with her secure, richly hued soprano. Stately and beautiful, she moved with an appropriately imperious air.
Cheryl North, Oakland Tribune
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As Liu:
Karen Anderson adds another fine Utah Opera characterizations the slave girl Liu- the womanly voice of reason, compassion and devotion. Anderson sings Liu’s affecting arias with feeling, her lovely lyric soprano in fine estate, and dies pathetically in the best Puccini tradition.
Dorothy Stowe, Deseret News
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As Pamina:
Karen Anderson as Pamina sang with the cleanness- with no vocal affectation- that is the essence of a strong Mozart interpretation. Without being sentimental she brought a tender despair to her aria lamenting Tamino’s indifference.
Anne Matthews, Salt Lake Tribune
At the upper limits was Karen Anderson, a good actress whose substantial soprano had the right proportions, quality and expressiveness for a steadfast, feminine Pamina.
Dorothy Stowe, Opera News
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As Mimi:
For better or worse, La Boheme depends on its Mimi. Karen Anderson delivered a Mimi who could carry the opera without any other help. She moved well, she showed a true feeling for the part, and throughout the evening she maintained a pure, youthful, silvery quality of voice which heightened the heartbreak of the role.
Linda Wilton Smith, The Register-Guard
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As Nedda:
Soprano Karen Anderson, in her company debut, impressed greatly as Nedda, singing a perfect ballatella in praise of Nature’s beauty.
Dimitri Drobatschowsky, The Arizona Republic
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As Marguerite:
Karen Anderson –shows a fine control over her instrument, keeping it fresh and innocent in her early appearances, releasing intensity and power in the closing scenes.
Michael Ackley, Sacramento Bee
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