Andrea Hill

Mezzo-soprano

 

 

Andrea Hill

Mezzo-soprano

American/Canadian Citizen

 

From Calgary, mezzo-soprano Andrea Hill established her career in Paris and now balances engagements at New York’s Metropolitan Opera, Covent Garden in London, her native Canada and on major stages in France. During the 2017-2018 season Ms. Hill appeared as Karolka in JENUFA for Pacific Opera Victoria, made her role debut a Rosina in IL BARBIERE DE SIVIGLIA for Calgary Opera, returned to the Metropolitan Opera as Dritte Magd in ELEKTRA and is currently covering the role of Stéphano in the their production of ROMÉO ET JULIETTE. Her schedule also included performances of MESSIAH with the Regina Symphony. This summer, she looks forward to the role of Dryade in ARIADNE AUF NAXOS for Festival d’Aix en Provence. Next season she stars as Orfeo in Gluck’s ORFEO ED EURIDICE with Opéra Théâtre de Metz Métropole, reprises Rosina IN IL BARBIERE DI SIVIGLIA for Manitoba Opera, and joins Edmonton Opera for Hänsel in HÄNSEL UND GRETEL.

Recent engagements include Mallika in Delibes’ LAKMÉ with Calgary Opera, Dritte Magd and Schleppeträgerin in ELEKTRA at the Metropolitan Opera, Flora in Verdi’s LA TRAVIATA at the Royal Opera House in London, Zweite Magd in ELEKTRA at the Gran Teatre de Liceu in Spain, Komponist in ARIADNE AUF NAXOS with Opéra national de Lorraine à Nancy, and Mozart’s REQUIEM with the Calgary Philharmonic.

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 the l’Opéra de Tour and Dido in DIDO AND AENEAS 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 and Der Gymnasiast in Berg’s LULU. She is an original cast member of Patrice Chéreau’s final production, Strauss’ ELEKTRA. Ms. Hill has sung her roles in ELEKTRA for Festival d’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 participated in festivals, including La Grange de Meslay, Musique à l’Empéri, Festival Présences with Radio France, and the Ultima Contemporary Music Festival in Oslo, Norway. A Ravinia Stean’s Institute alumna, Ms. Hill completed a Bachelor of Music – with high distinction – at McGill University, and a Master of Music at the University of Maryland. 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. Back in Calgary, she sang Siebel in Gounod’s FAUST, under the direction of Jean-Marie Zeitouni and then joined the Atelier Lyrique of the Opéra National de Paris.

April 2018

 

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

 

“The Calgary-born Hill is a well-cast Rosina: a warm, sparkling voice that is well suited for both lyric and demanding coloratura passages. In one aria alone, her voice sails through a staggering two octaves with rich, secure and consistent tone that drew audible gasps of appreciation from the audience.”
Barber of Seville, Calgary Opera
Oliver Munar, Schmopera

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

“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)
Carmen, Opéra de Tours
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

“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.”
Hänsel und Gretel, l’Opéra de Paris
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

 

 

NEWS


ELEKTRA AT THE METROPOLITAN OPERA
Andrea Hill appears as the Third Maid in Patrice Chéreau’s landmark production of R. Strauss’ Elektra at the Metropolitan Opera. Performances run March 1 – 23, 2018. metopera.org

THE BARBER OF SEVILLE AT CALGARY OPERA
Mezzo-soprano Andrea Hill sings the role of Rosina in Calgary Opera’s The Barber of SevillePerformances November 18 – 24, 2017 

The Barber of Seville, Courtesy of Calgary Opera. Photo by Trudie Lee.
(l-r) John Tessier, Russell Braun, Andrea Hill

Gestillte Sehnsucht – Brahms, Op. 91 No. 1
Jean-Frédéric Neuburger, piano
Henri Demarquette, cello

 

Du Bist Die Ruh – Schubert, Op. 59 No. 3
Luca Pier Paolo D’Amore, guitar

 

Nicklausse’s Aria from Les Contes d’Hoffmann by Offenbach

 

Wie du warst from Der Rosenkavalier by Strauss