Lauren Snouffer

La soprano Lauren Snouffer debutaba el rol titular de Lulu. Con incursiones que van desde el barroco a la música contemporánea, Snouffer parece confirmar que las mejores Lulús son capaces de moverse a lo largo de la historia musical con la elegancia de una pantera. Snouffer, caracterizada con una peluca morena que evocaba a Louise Brooks, habitó su complejo personaje con convicción, logrando distanciar al espectador cuando ella misma parece estar ausente de su propia historia, para luego acercarlo cuando reclama toda la atención y empatía. Snouffer tiene una bella voz, que manejó con soltura en todos los registros: desde la declamación al sobreagudo, desde el melodrama a las líneas más melódicas. Para un papel que está presente durante las casi tres horas de música, lo de Snouffer es un debut auspicioso.
Tiempo de Música, Cristóbal Astorga Sepúlveda

 

Hallenberg at this stage is hardly a revelation, but the young American Lauren Snouffer’s Teofane is.  The timbre is lovely, pure and flexible, yet possessing the kind of sensitive vulnerability that automatically inspires protective sentiments.  ‘Affanni del pensier’ (Act I), an aria wracked with chromatic pain, is drawn with a wonderful sense of line that finds her at her most affecting, but Snouffer is quite outstanding throughout.
OPERA, Brian Robins

In a splendid local debut, Lauren Snouffer played his wife, Agnès, far less self-consciously than had Barbara Hannigan: the raw sensuality, when it came, didn’t seem as calculated. Snouffer wore Rogers’s beautifully cut dresses with style, finding a walk that suggested women’s poses in medieval illustrated manuscripts. Snouffer’s clear, lovely soprano reached the heights with pinpoint accuracy of attack.
Opera News, David Shengold

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Recognized for her unique artistic curiosity in world-class performances spanning the music of Claudio Monteverdi and Johann Adolph Hasse through to György Ligeti and George Benjamin, American Lauren Snouffer is celebrated as one of the most versatile and respected sopranos on the international stage.

Opera performances of the current season fortify the soprano’s place as one of the eminent interpreters of contemporary music.  Lauren Snouffer assays the title role of Berg’s Lulu in a new production at the Teatro Municipal de Santiago conducted by Pedro-Pablo Prudencio and directed by Mariame Clément, and she returns to Houston Grand Opera for the world premiere of The Phoenix by composer Tarik O’Regan and librettist John Caird.  Other appearances on the international operatic stage include a new production of Handel’s Serse for the Internationale Händel-Festspiele Karlsruhe directed by Max Emanuel Cencic and conducted by Georg Petrou and the role of Magnolia Hawks in Francesca Zambello’s production of Show Boat for The Glimmerglass Festival.  Highlights of the concert stage include Bernstein’s Candide with the Seoul Philharmonic Orchestra, a program of Haydn and Mozart with Bernard Labadie and the Orchestra of St. Luke’s at Carnegie Hall, Messiah with the Cleveland Orchestra, National Arts Centre Orchestra, and New York Philharmonic, and a program of Bach and Couperin with Ars Lyrica Houston.

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Past seasons include Houston Grand Opera performances of Le nozze di Figaro conducted by Harry Bicket in a production by Michael Grandage as well as presentations of Carousel, Show Boat, The Rape of Lucretia, L’italiana in Algeri, and the world premiere of Ricky Ian Gordon’s The House Without A Christmas Tree; Lyric Opera of Chicago performances of Rusalka, La clemenza di Tito,and a new production of Orphée et Eurydice directed and choreographed by John Neumeier under the baton of Harry Bicket; a Seattle Opera debut as La Comtesse Adèle in Rossini’s Le comte Ory conducted by Giacomo Sagripanti; Die Zauberflöte at Seattle Opera and Lyric Opera of Kansas City; and Max Emanuel Cencic’s new production of Hasse’s Siroe at the Opéra Royal de Versailles, with additional performances in Budapest and Vienna.  Further credits demonstrating the soprano’s artistic versatility include A Little Night Music with Des Moines Metro Opera, Handel’s Arminio for the Badisches Staatstheater Karlsruhe, and Béatrice et Bénédict at the Théâtre du Capitole de Toulouse.

Lauren Snouffer’s concert schedule has yielded collaborations with many of the world’s most distinguished conductors and orchestras including numerous performances with Franz Welser-Möst and The Cleveland Orchestra, Cristian Măcelaru and the Rotterdam Philharmonic, Krzysztof Urbański and the Indianapolis Symphony Orchestra, Markus Stenz and the Baltimore Symphony Orchestra, with Patrick Dupré Quigley and the San Francisco Symphony, Harry Christophers and the Handel & Haydn Society of Boston, and with Marin Alsop and the Orquestra Sinfônica do Estado de São Paulo.

Closely associated with George Benjamin’s Written on Skin, she has sung the lead soprano role under the composer’s baton at the Tanglewood Festival of Contemporary Music and with the Théâtre du Capitole de Toulouse and Opera Philadelphia.  She has performed Ligeti’s Mysteries of the Macabre with the Aspen Contemporary Ensemble, presented the world premiere of Andrew Norman’s A Trip to the Moon with the Los Angeles Philharmonic, and joined Alan Gilbert and the New York Philharmonic in the title role of HK Gruber’s Gloria – A Pig Tale in a production staged by Doug Fitch.

An impactful discography includes Hasse’s Siroe and Handel’s Ottone with George Petrou for Decca, Gottschalk’s Requiem for the Living with Vladimir Lande on Novona Records, Grantham’s La cancíon desesperada conducted by Craig Hella Johnson on Harmonia Mundi, and Feldman’s The Rothko Chapel with Steven Schick for ECM.

A graduate of the Houston Grand Opera Studio, Lauren Snouffer was a winner of a 2013 Sara Tucker Study Grant from the Richard Tucker Music Foundation, a Richard F. Gold Career Grant bestowed by Houston Grand Opera, a grand finalist in the 2012 Metropolitan Opera National Council Auditions, and was graduated from Rice University and The Juilliard School.

 

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Ottone, Il Pomo d'Oro

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The House Without A Christmas Tree, Houston Grand Opera

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Written on Skin, Opera Philadelphia

Contact

General Management
Bill Palant, Étude Arts
Ansonia Station,Post Office Box 230132
New York, New York 10023
Tel: 929.777.0775
Email: bp@etudearts.com