Hailed by the New York Times for her “plush, full sound, yet also youthful brightness”, American mezzo-soprano Angela Brower is one of the most sought-after lyric mezzo-sopranos of her generation. A former member of the Bayerische Staatsoper ensemble, and alumna of their studio, she continues to bring her compelling artistry and musicianship to the world's leading opera houses and concert venues.
The 2021/22 season sees Brower makes a series of very exciting role and company debuts: in Hamburg she inaugurates the season with a new production of Les Contes d’Hoffman and the role that made her famous: Nicklausse/The Muse; in Munich she returns to her alma mater Bayerische Staatsoper, this time for a new role: Fox in a much anticipated new Barrie Kosky production of The Cunning Little Vixen, conducted by Mirga Gražinytė-Tyla; and finally she takes on the roles of Susanna and Zerlina and Dorabella in Mozart’s Da Ponte trilogy under the baton of Mark Minkowski presented at Grand Teatre del Liceu and Opéra National de Bordeaux. On the concert platform, Brower joins the City of Birmingham Symphony Orchestra for concert performances of The Cunning Little Vixen in Birmingham and on tour in Europe, and returns to the Mozarteum in Salzburg for Mozart’s Requiem.
Appearances last season include Dorabella Così fan tutte and a special gala concert at the Bayerische Staatsoper; Annio in a new production of La Clemenza di Tito at the Royal Opera House, Covent Garden; as well as her company debut with Norwegian National Opera as Rosina The Barber of Seville. Further highlights include Brower’s Metropolitan Opera debut in one of her signature roles - Octavian Der Rosenkavalier; Dorabella Così fan tutte in her first appearance at the Dutch National Opera, Cherubino Le Nozze di Figaro at the Mozartwoche Salzburg; the title role of Cendrillon in Klagenfurt and Adalgisa Norma in Munich.
Further recent successes include a series of company debuts with Opéra de Paris (Annio La Clemenza di Tito); Deutsche Oper Berlin (Prince Orlovsky Die Fledermaus); Royal Opera House and Salzburg Festival (Dorabella in new productions of Così fan tutte); Festival d’Aix-en-Provence and Glyndebourne Festival (Komponist Ariadne auf Naxos); Lyric Opera of Chicago (Idamante Idomeneo); Wiener Staatsoper (Rosina Il barbiere di Siviglia); Lucerne Festival (Tamiri Il re pastore); Accademia Nazionale di Santa Cecilia (Dorabella Così fan tutte); Festspielhaus Baden (Siebel Faust); and San Francisco Opera (Nicklausse Les Contes d’Hoffmann and Cherubino Le Nozze di Figaro). At Bayerische Staatsoper she was heard as Nicklausse Les Contes d’Hoffmann; Annio and Sesto in La Clemenza di Tito; Komponist Ariadne auf Naxos; title role of La Cenerentola; Dorabella, Cherubino, Octavian, Hänsel Hänsel und Gretel; Charlotte Werther; and Adalgisa Norma.
On the concert platform, she has performed works such as Mozart’s Requiem with the Vienna Philharmonic under the baton of Maestro Andrés Orozco-Estrada; a concert with the Aachen Symphony Orchestra which featured works by Debussy, Chausson, Ravel, and Duruflé; Rossini’s Stabat Mater with the Radio Philharmonic Orchestra at the Het Concertgebouw in Amsterdam; Alban Berg’s Sieben frühe Lieder with the Tiroler Symphonie Orchester in Innsbruck; Chausson’s Poème de l’amour et de la mer Op. 19 and Ravel’s Shéhérazade with the NDR Sinfonieorchester, under the musical direction of Yal Pascal Tortilier.
Her discography includes the hugely acclaimed Deutsche Grammophon recordings of Mozart’s Così fan tutte and Le Nozze di Figaro both conducted by Yannick Nézet-Séguin.
Angela Brower was raised in Arizona and studied at Arizona State University and Indiana University. Her career started as a young artist singing at the Glimmerglass Opera Young American Artists Program in 2008. She was then invited to join the Opera Studio at the Bayerische Staatsoper in Munich, where she later became a member of the Ensemble from 2010-2016. Her portrayal of Dorabella in Così fan tutte earned her particular attention on the main stage of the National Theater, which led to her receiving the prestigious Munich Festival Prize in 2009.
The New York Times, March 2018
“Angela Brower sang Octavian with plush, full sound, yet also youthful brightness and ﬂashes of cocky energy.”
“Angela Brower as the Prince from Orlofski had a melting mezzo-soprano and perfect intonation. Her “Ich lade mir gerne Gäste ein” was gorgeously sung. One longed to hear more from her.”
“…so well was she sung by Angela Brower – with ardently glowing tone and verbal relish that made her “Musik ist ein heilige Kunst” a moving and believable manifesto – that she seemed to have earned the right to do whatever she liked.”