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
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 position 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 Juan Pablo Izquierdo and directed by Mariame Clément and she reprises her acclaimed portrayal of Agnès in George Benjamin’s Written on Skin for Opera Philadelphia’s new production. Furthermore, she creates principal soprano roles in the world premieres of Houston Grand Opera’s The House Without A Christmas Tree, written by Ricky Ian Gordon in a new production by James Robinson, and in Andrew Norman’s A Trip to the Moon presented by the Los Angeles Philharmonic and directed by Yuval Sharon. Equally celebrated in roles of the traditional opera canon, Lauren Snouffer returns to the stage of the Lyric Opera of Chicago in a new production of Orphée et Eurydice directed and choreographed by John Neumeier under the baton of Harry Bicket and Mozart heroines include Donna Elvira in Don Giovanni with Stefano Montanari conducting the Moscow Chamber Orchestra and Pamina in Die Zauberflöte with Krzysztof Urbański and the Indianapolis Symphony Orchestra. Additional concert performances include Mozart’s Requiem with The Cleveland Orchestra and Barber’s Knoxville: Summer of 1915 and Mahler’s Fourth Symphony with the Malaysian Philharmonic Orchestra.Read More
A dynamic concert schedule in 2016-17 included Bach’s Johannes-Passion with Franz Welser-Möst and the Cleveland Orchestra, Mozart’s Requiem with Cristian Macelaru and the Rotterdam Philharmonic, Handel’s Messiah with Patrick Dupré Quigley and the San Francisco Symphony, and Carmina Burana with Krzysztof Urbański and the Indianapolis Symphony Orchestra. No less impressive was her operatic diary which included Die Zauberflöte at Seattle Opera, 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.
Highlights of 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, and L’italiana in Algeri, Lyric Opera of Chicago productions of Rusalka and La clemenza di Tito, a Seattle Opera debut as La Comtesse Adèle in Rossini’s Le comte Ory conducted by Giacomo Sagripanti, The Magic Flute at the Lyric Opera of Kansas City, and Max Emanuel Cencic’s new production of Hasse’s Siroe at the Opéra Royal de Versailles, with further performances in Budapest and Vienna.
Lauren Snouffer joined Markus Stenz and the Baltimore Symphony Orchestra for performances of Beethoven’s Egmont, Harry Christophers and the Handel & Haydn Society of Boston in Mozart’s Requiem, Franz Welser-Möst and The Cleveland Orchestra for Brahms’ Ein deutsches Requiem and concert performances of Strauss’ Daphne, and she dazzled as Cunegonde in concert performances of Bernstein’s Candide 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. She has sung Ligeti’s Mysteries of the Macabre with the Aspen Contemporary Ensemble and has given the New York premiere of HK Gruber’s Gloria – A Pig Tale with Alan Gilbert and the New York Philharmonic 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
Ottone, Il Pomo d'OroVideo
The House Without A Christmas Tree, Houston Grand OperaVideo
Written on Skin, Opera Philadelphia
Bill Palant, Étude Arts
Ansonia Station,Post Office Box 230132
New York, New York 10023