American soprano Emily Martin has regularly received acclaim for her “enchanting iridescence” (The Sarasota Herald Tribune), and has been called “dramatically energetic and skillful” (The Philadelphia Inquirer). Her “acting ability, seamlessly interwoven with her singing” (Charlotte Herald-Tribune) is apparent in her performances with such companies as The Santa Fe Opera (Peter Grimes), Palm Beach Opera (Thâis), Opera Nevada (Turandot), Chautauqua Opera (Cosi Fan Tutte), and Skylight Music Theater (Midnight Angel, The Little Prince, Don Giovanni, and Rosina), among others.

The 2017-2018 season finds Ms. Martin in concert and recital performances around the United States, Canada, and Europe. She will be performing two different recital programs: the first, entitled Home, is a collection of songs about immigrants and displaced people. The second program will feature the newly formed trio, Women On The Verge, with Ms. Martin and Canadians Elizabeth McDonald and Kathryn Tremills. The trio has also commissioned a new work by Canadian composer Emilie LeBel to be premiered at the Canadian Music Center in Toronto in March 2018.
Concert performances for 2018 include Ms. Martin as the featured soloist in Brahms’ Requiem with the Choral Artists of Sarasota. She was also named a finalist in the International Vocal Competition Vissi D´Arte 2017 in Prague, Czech Republic.

Recent seasons have featured Ms. Martin in opera, concert and recital repertoire around the United States. Opera performances have included Alice Ford in Falstaff with Opera on the James, and the world premiere of Garrett Fisher’s The Passion Trilogy as the role of the Mother and the role of Martha Jefferson in Monticello Wakes by Garrett Fisher, both in Los Angeles as part of the Fisher Ensemble. Last seasons’s concert repertoire included the role of Joan of Arc in Einhorn’s Voices of Light with Pennsylvania’s Susquehanna Valley Chorale.

As an orchestral concert soloist, Ms. Martin made her Carnegie Hall début in Handel’s Messiah with the New England Symphonic Ensemble, and has been a featured soloist in Whitbourn’s Annelise, Mozart’s Requiem, Beethoven’s Ninth Symphony, Mahler’s Symphony No. 2, Bach’s Mass in b minor, and Barber’s Knoxville: Summer of 1915, among others, with various national orchestras.

A native of Connecticut, Ms. Martin received her training at Boston University, the Academy of Vocal Arts in Philadelphia and the University of Colorado at Boulder, followed by participation in the Santa Fe Opera Apprentice Program for Singers, the Chautauqua Opera Young Artist Program, the Virginia Opera Emerging Artist Program, and as a Phyllis Curtin Seminarian at the Tanglewood Music Center. She has been the winner of various competitions, including a Finalist in the Llangollen International Singer Eisteddfod, which included an appearance on Welsh National Television with the Royal Philharmonic Orchestra under the baton of Yves Abel.

 

SELECTED UPCOMING ENGAGEMENTS
Recitals in Toronto, Texas, Maine and Paris
Soprano soloist in Brahms' Requiem with the Choral Artists of Sarasota

See the Schedule Page for more information

 

As Violetta (University of Colorado Opera Theater)

Nick Romeo, The Boulder Daily Camera

Slender and striking in a white gown, soprano Emily Martin runs no risk of causing laughter by her portrayal of a seductive courtesan. At the party that opens the first act, she flits about the stage like coyness incarnate, caressing one potential lover as she slips out of the grasp of another. But after the glittering brilliance of the opening, we get hints that beneath her flirtatious exterior she yearns for fidelity. Martin convincingly dramatizes Violetta's vacillation between these extremes and gives a thrilling display of vocal agility in the famous aria "Sempre Libera."