Abigail Fischer

“With her dramatic tumble of red hair and cello-mello voice, Ms. Fischer sings with a passionate restraint that has no equal in her generation. You didn’t want her to stop.” So said Zachary Woolf from the New York Times after Abigail Fischer’s performance of George Benjamin with St. Luke’s Orchestra at the New York Philharmonic Bienniel in 2014.
 

Versatile vocalist Abigail Fischer has made a vibrant career soloing with ensembles such as the Kansas City Symphony, Milwaukee Symphony, Rhode Island Symphony, Virginia Symphony, Boston Baroque, and Mercury Orchestra Houston. With the Boston Symphony Orchestra, Ms. Fischer performed semi-staged versions of Strauss’ Salome and Midsummer Night’s Dream.
 

Missy Mazzoli’s first opera, Song from the Uproar, written for her and the NOW Ensemble, is a one-woman show that has been seen at Los Angeles Opera, Chautauqua Opera, and this 2017 summer at Cincinnati Opera.
 

Known for her “serenely captivating” work in opera, “and disarming intimacy,” (NY Times) Ms. Fischer performed two daring alternative productions of Carmenin Boulder, Colorado and Rockport, Maine this past summer. This 2016-2017 season, Ms. Fischer reprised the one-woman show Toshio Hosakawa’s The Raven in Bolzano, Italy for her Italian stage debut.
 

Ms. Fischer has sung the title role in Rape of Lucretia with Opera Memphis, has premiered Lee Hoiby’s This is the Rill Speaking with American Opera Projects, has sung Cenerentola with Union Avenue (in Italian) and Salt Marsh Opera (in English), and Angels in America with LA Philharmonic. One of her favorite pieces is Lieberson’s Neruda Songs, which she performed with the Columbus Symphony.
 

Other recent premieres at the “suddenly indispensable” Prototype Festival have included Mrs. X.E. in Du Yun/Royce Vavrek’s Angel’s Bone (which won the 2017 Pulitzer Prize for Musical Composition) and The Mother in Stefan Weisman/David Cote’s Scarlet Ibis. With Gotham Chamber Opera, Ms. Fischer performed Testo in Monteverdi’s Combattimento di Tancredi e Clorinda and Eva in Martinu’s Comedy on the Bridge.

In early music, she has worked with American Bach Soloists in programs of Vivaldi Gloria, Handel La Resurrezione, Porpora De Profundis, and Bach Magnificat; Rebel Baroque Orchestra with Mozart Mass in C and Handel Messiah; Duke Chapel Choir with Bach’s St. Matthew Passion and Handel Messiah; and Early Music New York and Mercury Houston’s programs of Vivaldi motets. At Carnegie Hall with the New York Choral Society in February 2017, Ms. Fischer reprised her role as soloist in Haydn’s Lord Nelson Mass, which she first performed and recorded with Boston Baroque.

Originally trained as a cellist, Ms. Fischer has worked often as a chamber musician, from Musicians of Marlboro Music Festival, Chamber Music Northwest, to St. Luke’s Chamber Ensemble, performing works such as John Harbison’s Crossroads and Respigghi’s Il Tramonto. She has premiered Elliot Carter’s Mad Regales and Bernard Rand’s Walcott Songs at Tanglewood Music Festival, numerous John Zorn chamber works all over the world, including Lincoln Center Festival, and Nico Muhly’s Elements of Style, also at Lincoln Center.
 

Recordings of Ms. Fischer’s includes the operas Song from the Uproar (Missy Mazzoli), The Judgement of Midas (Kamran Ince); the oratorios Haydn Lord Nelson Mass(Boston Baroque), Katrina Ballads (Ted Hearne); and the chamber works Mothertongue (Nico Muhly), The Quality of Mercy (Patrick Castillo), and numerous works of John Zorn.
 

A graduate of Eastman School of Music (MM), and Vassar College (BA), Lorenzo di Medici in Florence, Italy (Certificate in Italian language and literature), Ms. Fischer also traversed the summer scenes of Tanglewood Music Festival, Aspen Music Festival, Marlboro Music Festival, Songfest, and the Chautauqua Voice Program, among others.

 


Copyright 2014 Brooklyn Art Song Society. Site by Nicholas Finch of NHF Digital