Andrea Hill

 

Mezzo-soprano

 

 

Andrea Hill

Mezzo-soprano

 

Last season saw mezzo Andrea Hill singing Mallika in Delibes’ Lakmé with Calgary Opera, Dinah in Trouble in Tahiti with Opéra de Tours, Dritte Mägd and Schleppeträgerin in Elektra at the Metropolitan Opera, as well as Flora in Verdi’s La Traviata at Royal Opera House. During the 2016/17 season, she sings Zweite Mägd in Elektra at the Gran Teatre de Liceu in Spain, Komponist in Ariadne auf Naxos with Opéra national de Lorraine à Nancy, and performs Mozart’s Requiem with the Calgary Philharmonic to inaugurate a new concert hall in her hometown of Calgary, Alberta, Canada. She covers Stephano in the Metropolitan Opera’s Production of Roméo et Juliette. She debuts in 2017 with Pacific Opera Victoria as Karolka in Jenufa and Rosina in Il Barbiere di Siviglia for Calgary Opera. In 2018, she returns to the Metropolitan Opera reprising the role of Dritte Mägd in Elektra, and Dryade in Ariadne auf Naxos for Festival d’Aix-en-Provence.

On the operatic stage, Ms. Hill made her début at the Palais Garnier (Opéra National de Paris) as Varvara in Janacek’s beautiful and disturbing Katia Kabonova.  She has since sung the title roles of Carmen in Tours, and Dido with the Opéra Dijon, and Octavian in excerpts of Strauss’ Der Rosenkavalier at the Théâtre des Champs-Élysées under the baton of Kurt Masur. With the Opéra National de Paris, she has sung many roles, including Hänsel from Humperdinck’s Hänsel und Gretel, Diane in Rameau’s Hippolyte et Aricie with Emmanuelle Haïm, and Krista from Janacek’s The Makropulos Case, Der Gymnasiast in Berg’s Lulu. She is an original cast member of Patrice Chéreau’s final production, Strauss’ Elektra. Ms. Hill has sung the Zweite Mägd and Schleppeträgerin in Aix-en-Provence and at La Scala in Milan, under the baton of Esa-Pekka Salonen, with whom she has also sung four roles in l’Enfant et les Sortilèges at Royal Festival Hall, in London.

A passionate concert and chamber singer, Ms. Hill has been invited to participate in several festivals, including Festival Présences with Radio France, the Ultima Contemporary Music Festival in Oslo Norway, La Grange de Meslay, Musique à l’Empéri, and Aix-en-Provence. In 2010, she traveled to Chicago to take part in the reputed Stean’s Institute of the Ravinia Festival.

Ms. Hill completed a Bachelor’s of Music – with high distinction – at McGill University, and a Master’s of Music at the University of Maryland. In 2006, she was part of the inaugural year of Calgary Opera’s Emerging Artist program, shortly thereafter traveling to Hof, Germany, to interpret the title role of Rossini’s La Cenerentola, to great acclaim. 2008 would see her back in Calgary, singing Siebel in Gounod’s FAUST, under the direction of Jean-Marie Zeitouni. In 2007, Ms. Hill was invited into the Atelier Lyrique of the Opéra National de Paris, with whom she would perform several operas and concerts throughout Europe.                                                                        

March 2017

Contact: (917) 829-2911 / alison@deanartists.com / www.deanartists.com

 

 

OPERA

Berg Gymnasiast/Theatergarderobiere/
Groom
LULU
Bizet Carmen CARMEN
Britten Hermia A MIDSUMMER NIGHT’S DREAM
 Chabrier Hélène L’ÉDUCATION MANQUÉE
Dukas Sélysette ARIANE ET BARBE-BLEUE
Gounod Siebel FAUST
Humperdink Hänsel  HÄNSEL UND GRETEL
Janáček                Varvara
Krista/Poklízečka/ Komorná        
KATIA KABANOVA
VEČ MAKROPOLUS
Mozart Dorabella
Idamante
Sesto/Annio
Cherubino
COSÌ FAN TUTTE
IDOMENEO
LA CLEMENZA DI TITO
LE NOZZE DI FIGARO
Purcell Dido/Second Witch DIDO AND AENEAS
Rameau Diane HIPPOLYTE ET ARCIE
Ravel Pâtre/Bèrgère/ Chatte/
Ecureuil/ Chouette               
L’ENFANT ET LES SORTILÈGES
Rossini Angelina
Rosina
LA CENERENTOLA
IL BARBIERE DI SIVIGLIA
Strauss, R. Komponist
Kinderstimme/Solostimme
Octavian
DritteMägde/Zweite Mägde/die Schleppeträgerin
ARIADNE AUF NAXOS
DIE FRAU OHNE SCHATTEN
DER ROSENKAVALIER
ELEKTRA

“Andrea Hill’s rendition of “Una voce poco fa” from Rossini’s The Barber of Seville was brilliant in every way.”
Calgary Herald, Kenneth Delong

“…and above all Andrea Hill, a Canadian in possession of the most sultry and sexy mezzo imaginable, perfectly even and focused, who had four roles to incarnate and whose squirrel at the end was almost heartbreaking.”
Opera Britannia, Stephen Jay-Taylor

“Andrea Hill and François Prolino were the most hilarious of [] co-stars.”
Financial Times, Hannah Nepil

As Carmen for Opéra de Tours

“We know “Carmen”, the well-known arias and choruses that sing in all of our memories. But Carmen can still surprise…all with restraint, Andrea Hill, marvelous mezzo-soprano with such subtle nuance, incarnates a Carmen of overwhelming truth…” (translated from French)
Lanouvellerepublique.fr, Philippe Haller

“Andrea Hill is in effect a revelation. Supple and undulate as a vine, she naturally incarnates this free woman, as wanted by the director, who inflames passions witout ever being manipulative. Her clear, bronze tinted mezzo seduces as much as her impeccable diction. Her singing stays permanently scrupulous, without searching out effect and without the slightest vulgarity.” (translated from French)
ResMusic, Vincent Deloge

“The Canadian mezzo Andrea Hill is a discovery, who invents a fine and varied Carmen. The Habanera is sung with absolute simplicity, and the Séguedille with perfect elegance; the Chanson bohème allows her to reveal more of a fire temperament, and the Card aria, a black introspection. All this with a sense of nuance that we do not often find.” (translated from French)
Opéra Magazine, Jacques Bonnaure

“Ancienne pensionnaire de L’Atelier Lyrique de L’Opéra de Paris, [Andrea Hill] paraît avoir attentivement écouté Denise Sharley autant que Teresa Berganza, donnant vie à une première Carmen de très haut niveau. La maîtrise de la voix est totale, chaque inflexion de la voix trouvant naturallement sa place, au service d’une diction remarquablement travaillée, dans la grande tradition française. Une sensualité qui n’est jamais vulgarité, un jeu de scène à l’élégance jamais prise en défaut, tous les elements sont réunis pour susciter bien des espoir, jusqu’à un air de Cartes d’une poignant intimate, au legato imperturbable et au magnetism intense. Seule la puissance de l’instrument demeure encore modeste et demande à se developer advantage pour pouvoir pretender à des salles aux dimensions plus vastes. Nonobstant ce detail, nous tenons là une future grande titulaire du role-titre. Une Carmen tourangelle qui nous aura permis de découvrir en Andrea Hill un jeune talent à suivre de très près.”
Classiquenews.com, Nicolas Grienenberger

“The heroine, incarnated by Andrea Hill, is sober while nonetheless occupying the space with authority. If she banishes all excess, her “prise de role” is not any less convincing and the seduction of this supple, velvet voice serves, without excessive characterization, the image of a delicately swinging “Sur les remparts de Séville.” (translated from French)
Concertclassic.com, Michel le Naour

 As Hänsel in Hänsel und Gretel with l’Opéra de Paris

“La musique, veritable protagonist de l’oeuvre, a sons doute eu l’effet à la fois apaisant et enchanteur qu’on attendait. Hansel et Gretel sont interpétés par les jeunes Andrea Hill et Bernarda Bobro respectivement. Leur prestation est remarquable tous points de vue confondus. Leur voix s’accordent d’une très belle façon, avec une facilité et un naturel qui rehaussent la fraîcheure d’oeuvre.  Leurs nombreaux duos repartis tout au long des trios actes sont un mélange de douceur champêtre, de vivacité, dhumour, de tendresse, mais pas que.”
Classiquenews.com, Sabino Peno Arcia

“Andrea Hill campe un Hänsel tout en nuances, entre l’enfant apeuré et laspirant héros.”
Bachtrack.com, Jean-Marc Piriou

 

WATCH

Nobles seigneurs, salut! from a live performance for the celebration of the Rosza Foundation’s 25th Anniversary, October 2015.

NEWS

Andrea Hill covers the role of Stéphano in Gounod’s Roméo et Juliette at the Metropolitan Opera. The production runs from December 31 through March 18.

https://metopera.org