Kathryn Morrison Management                          -
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Kirstin Chávez
(Mezzo Soprano)
 
 
 
Kirstin Chávez, Kathryn Morrison Management
 
Mezzo-soprano Kirstin Chávez is considered one of the most riveting and significant young artist performing today. She is praised for her luscious and velvety tone that transcends classification, with its rich evenness in her lower register and the easy ripeness of the top. The combination of the dramatic intensity of her acting, along with her natural physical beauty, make her an arresting and unique presence on the operatic stage. During the 2010 - 11 season Ms. Chavez was heard as Maddalena in Rigoletto with The Metropolitan Opera and with the Dallas Opera, and as Carmen at the Arena di Verona in Italy and at Central City Opera. The 2011 – 2012 season includes leading the production of Dead Man Walking with Tulsa Opera, Baba the Turk in the Rake's Progress with the Cincinnati Chamber Orchestra, and Carmen with the Graz Opera, Opera Queensland,  among others.

Ms. Chávez has captured attention and acclaim in her signature roles and is now known as one of the definitive Carmen’s of the day, a role that she has performed with great success throughout the United States, and elsewhere in the world, including in Japan, China, Taiwan, Europe, and Australia. Opera News reported that her Carmen in Graz, Austria was “the Carmen of a lifetime. With her dark, generous mezzo, earthy eroticism, volcanic spontaneity and smouldering charisma, Chavez has it all, including a superb command of French and a sense of humour.” She has also been praised for her renditions of Rosina in il Barbiere di Siviglia (San Diego Opera, Santa Fe Opera, Indianapolis Opera, Orlando Opera), Dorabella in Cosi fan Tutte (Orlando Opera, Connecticut Opera), Cenerentola in Cenerentola (Kentucky Opera, Fresno Opera), Desideria in The Saint of Bleecker Street (Central City Opera) and Maddalena in Rigoletto (San Diego Opera, New York City Opera, Opera Company of Philadelphia).

Her natural sensuality also lends itself remarkably well to a host of pants roles, including her favorites: Octavian, in Der Rosenkvalier (Florentine Opera), Cherubino in Le Nozze di Figaro (New York City Opera, Opera Company of Philadelphia), Hansel in Hansel and Gretel (Atlanta Opera) and Orfeo in Orfeo ed Euridice (Metropolitan Opera). She has also earned praise for her performances in modern American Operas with her Jo in Adamo’s Little Women (Opera Pacific), Thérèse, in Tobias Picker’s Thérèse Raquin (San Diego Opera) and for Sondra Finchley in Picker’s An American Tragedy, which was her Metropolitan Opera principal debut in 2005. And now Kirstin has added one more modern role to the list: Sister Helen Prejean in Dead Man Walking, of which the Tulsa World reviewer referred to her performance as “Searing and Incandescent,” and The Examiner's reviewer spoke of a “riveting and deeply sensitive portrayal.”

The mezzo-soprano sang the title role of Carmen with the China National Centre for the Performing Arts in Beijing, at The New National Theatre in Tokyo, Japan, Manitoba Opera, Opera Carolina, and Opera New Jersey all during the 2009-2010 season. During the 2008-2009 season she was Orfeo in Orfeo ed Euridice (Metropolitan Opera), Rosina in Il Barbiere di Siviglia (Opéra de Nice, France) the title role of Carmen (Staatsoper Hannover, Germany, and with the Opera Australia on tour in Taipei), Dorabella in Cosi fan Tutte (Oper Graz in Austria), Maddalena in Rigoletto (San Diego Opera), and Preziosilla in La Forza del Destino (Caramoor Festival, NY). In addition, she joined the Detroit Symphony Orchestra for concert performances at the Meadow Brook Music Festival and she appeared with the Wintergreen Performing Arts Festival in performances of Manuel de Falla’s El Amor Brujo.

Ms. Chávez has also performed regularly on the concert stage with works such as: Handel’s Messiah, Mozart’s Requiem, Beethoven’s 9th Symphony, Bach’s Magnificat, and Rossini’s Stabat Mater, and will add the Bach B Minor mass to her repertoire with performances in New Mexico in the spring of 2012.

Kirstin Chávez was born in Albuquerque, New Mexico, but spent most of her formative years in Kuala Lumpur, Malaysia, where her parents worked as English and Music teachers. She received a Bachelor of Music degree, with Honors, from New Mexico State University, and a Master of Music degree, in Performance, and the Performer’s Certificate, from the Eastman School of Music. After beginning an Artistic Residency with the Orlando Opera, Ms. Chávez won several major international competitions, including The Sullivan Foundation, The George London Foundation, the Licia Albanese-Puccini Foundation, the Opera Index Foundation, The Gerda Lissner Foundation, the Jensen Foundation, and the Metropolitan Opera National Council Auditions (National Finalist).
 
 
 
 
 
 
LISTENING:
Therese Raquin (Therese), San Diego Opera--2004
 
 
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Tobias Picker: "Thérèse Raquin", Excerpt 1, Act II
"Am I Dreaming": Kirstin Chavez, Cheryl Woods. Thérèse Raquin, Act II
 
 
 
 
 
 
 
 
Kirstin Chávez, Kathryn Morrison Management
Barber of Seville (Rosina), Opera Indiana--2004
 
 
 
 
Kirstin Chávez, Kathryn Morrison Management
 
 
 
 
Kirstin Chávez, Kathryn Morrison Management
Barber of Seville (Rosina), Opera Indiana--2004
 
 
 
 
Kirstin Chávez, Kathryn Morrison Management
Carmen (Carmen), Grazer Oper--2006 and 2012
 
 
 
Kirstin Chávez, Kathryn Morrison Management
 
 
 
 
Kirstin Chávez, Kathryn Morrison Management
         Carmen (Carmen), Arizona Opera--2005
 
 
 
Kirstin Chávez, Kathryn Morrison Management
           Carmen (Carmen), Arizona Opera--2005
 
 
 
 
Kirstin Chávez, Kathryn Morrison Management
 
 
 
 
Kirstin Chávez, Kathryn Morrison Management
            Orfeo (Orfeo), Metropolitan Opera--2007
 
TO SEE KIRSTIN'S 2013 PERFORMANCE DATES PLEASE CLICK ON IMAGE BELOW
 
 
Kirstin Chávez, Kathryn Morrison Management
Carmen (Carmen), Opera Australia, 2008 and    Opera Queensland, 2012
 
 
 
To find out more about Kirstin Chávez, connect to her official webpage:
 
 
 
 
 
LISTENING:
Carmen (Carmen) Grazer Oper--2006
 
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Kirstin Chavez CARMEN Seguidilla
Reviews:
 
CARMEN- Central City Opera - August 2011
 
“Mezzo-soprano Kirstin Chávez imbued the title role with a suitably fiery sensuality and a big, flexible voice with an ideally sultry lower register. She has already performed the role with several other companies, and she's sure to be even more in demand."
Kyle MacMillan, OPERA NEWS, August 2011
 
 “KIRSTIN CHAVEZ as the lusty Carmen is the best thing about Central City Opera’s production of Georges Bizet’s French opera of the same name playing through August 7 at the opera house in Central City...... Carmen is Chavez’s signature role since her debut as the fiery gypsy with Opera Australia in 2008.  The mezzo-soprano’s rich voice and her athleticism (hopping on and off the pool table and often squatting wide-legged) make this Carmen a likable character, if you like bold and bawdy women. She tells the audience who she is in the famous signature song “Habanera” in the opening act .... She proves her titillating talents in her memorable sexy seduction of Corporal Don Jose when she sings the “Seguidilla” aria from a chair with her hands tied behind her back, and later when she dances for him in Act II.”
Claudia Carbone, Examiner.com, July 2011
 
“Chávez takes narcissistic delight in the unashamed exploitation of voice and body that makes her a prime incarnation of Bizet`s famous Gypsy today. Who has ever seen a Carmen add punch to an aria with an elevated naked foot? A sex-kitten Carmen? Forget it! Chávez is a feral beast that tears a path of destruction through the world that she dominates. Small wonder that Chávez, a youthfully exuberant woman at the outset, has made this her signature role"
Wes Blomsterk, Daily Camera.com,June 2011
 
“And then there was Carmen. From the moment mezzo-soprano Kirstin Chavez stepped barefoot onto the stage, all eyes were upon her. In L'amour est un oiseau rebelle, she exuded undeniable sensuality (and cleavage). Her voice oozed effortlessly out of her, throaty and exotic. Moving like a cat languishing in the sun, she oiled her way through throngs of admirers, flashing her white teeth and doing suggestive things with her cigarette. Chavez doesn't just play Carmen -- she is Carmen. Wrapping her legs around various male cast members, she mesmerized the audience who sat silently still, lest they miss one movement, one note of her sizzling sexuality. Who could resist her tantalizing Habanera? Her acting and body language was as evocative as her voice, as she sat in "unladylike" positions, laughed coarsely and rolled her eyes at Don José's pleas. “
Gwenda Nemerosfsky, Winnipeg Free Press, 2011
 
 
CARMEN- Opera New Jersey – February 2010
 
“An agile and athletic singer (with obvious ballet background), Ms. Chávez was comfortable enough in the role to slink around the soldiers and Don José in cat-like form. This type of physicality takes supreme confidence of voice, and Ms. Chávez missed none of the dramatic or musical nuance of the role.”
Nancy Plum, Town Topics, February 2010
 
“Kirstin Chavez is easily one of the most riveting and significant young artists performing today, with complete ease in the role of Carmen, plus exceptional dancing ability and fine acting. It is perfectly obvious that she is well on her way to becoming one of the most definitive Carmen’s of all time.”
Stuart Duncan, February 2010