EMILY

BIRSAN
SOPRANO

Soprano Emily Birsan has been praised by the Chicago Tribune for her
fineness of expression... and by Madison Isthmus as having strong,
clear, handsomely balanced and beautiful voice, and as Soprano Emily
Birsan has been praised by the Chicago Tribune for her fineness of
expression... and by Madison Isthmus as having a strong, clear,
handsomely balanced and beautiful voice, and as ...an artist with a very great promise for the future.

On the brink of an international career, Emily recently finished her third year as a member of the Patrick G. and Shirley W.
Ryan Opera Center at the Lyric Opera of Chicago. Ms. Birsan was most recently heard on the main stage of the Lyric
Opera of Chicago as Servilia in the critically acclaimed Sir David McVicar production La clemenza di Tito and the 1st Flower
Maiden in a new production of Wagners Parsifal. In addition, Ms. Birsan has covered multiple roles including Adele in Die
Fledermaus, Violetta in La traviata, and Norina in Don Pasquale at the Lyric. The 2014-2015 season marked her return to
the Lyric Opera of Chicago for their 60th anniversary season as the Italian Singer in Strauss Capriccio. Additionally, she
sang Lela in Les pcheurs de perles with Florida Grand Opera, Schubert's Shepherd on the Rock with the Knoxville
Symphony Orchestra, the cover of Violetta in La traviata with Fort Worth Opera, and Anne Trulove in The Rakes Progress
with the Edinburgh International Festival. In the 2015-2016 season, she returns to Chicago Opera Theater as Lauretta in
Gianni Schicchi, debuts with Boston Lyric Opera and Madison Opera as Musetta in La bohme, joins the Dubuque
Symphony for Brahms Ein Deutsches Requiem, Bangor Symphony as Mimi in La bohme, Bard at Carnegie Hall for
Mozarts Mass in C Minor, and returns to Madison for Opera in the Park. Next season, she makes role debuts as Juliette in
Romo et Juliette with Madison Opera, Donna Anna in Don Giovanni with Florentine Opera, and Susanna in Le nozze di
Figaro in her return to Boston Lyric Opera.

Additional previous operatic credits include joining and Chicago Opera Theater as Bubikopf/The Clever One in the double
bill of The Emperor of Atlantis/The Clever One, Mme. Silberklang in Mozarts Der Schauspieldirektor with the Grant Park
Music Festival, Pamina in Die Zauberflte with Lawrence, Fiordiligi in Cos fan tutte with the Ryan Opera Center
Workshop, her debut as Xenia in Mussorgksys Boris Godunov, and covers of Armida in Handels Rinaldo, and Lucia in
Lucia di Lammermoor, all with the Lyric.

Equally at home on the concert stage, Ms. Birsan has performed with the Madison Symphony Orchestra for a series of
concerts titled The Gershwin Legacy, as the soprano soloist in Schuberts Mass in Eb with the Grant Park Symphony,
Bachs Matthus-Passion as well as a concert of Bach Cantatas No. 22 and 32 with the Madison Bach Musicians, and
triumphed in A Mirror on Which to Dwell by Elliot Carter at the Ravinia Festival in July of 2013. Birsan trace(d) the
jagged intervals of Carter's six settings of Elizabeth Bishop poems with amazing clarity of diction, accuracy of intonation
and fineness of expression...- John von Rhein, Chicago Tribune. She was also featured as a soloist on the Rush Hour
Concert Series and has recorded arias for composer Jimmy Lopez new opera Bel Canto which will had its world premiere
at the Lyric Opera of Chicago in 2015. Additionally, she is featured in the recording of The Saga of St. Olaf with Sir Andrew
Davis and the Bergen Philharmonic.

In 2014, Ms. Birsan was awarded first prize from the Musicians Club of Women Competition, was the 2014 Richard F. Gold
Career Grant through the Lyric Opera of Chicago, and was a finalist for the Sara Tucker Study Grant with the Richard Tucker
Foundation. She earned her Bachelor of Music degree from Lawrence Conservatory in Appleton, WI and her Master of
Music degree from the University of Wisconsin-Madisons School of Music. A student of Julia Faulkner, Ms. Birsan was also
awarded the Paul Collins Fellowship during her residency at the university.

EMILY BIRSAN
SOPRANO

OPERA
Susanna
Le nozze di Figaro
Boston Lyric Opera
Donna Anna
Don Giovanni
Florentine Opera
Juliette
Romo et Juliette
Madison Opera
Mimi
La bohme
Bangor Symphony Orchestra
Lauretta
Gianni Schicchi
Chicago Opera Theater
Musetta
La bohme
Madison Opera
Musetta
La bohme
Boston Lyric Opera
Anne Trulove
The Rakes Progress
Edinburgh International Festival
Violetta (c)
La Traviata
Fort Worth Opera
Lela
Les pcheurs de perles
Florida Grand Opera
Italian Singer
Capriccio
Lyric Opera of Chicago
Bubikopf/Clever One Emperor of Atlantis/Clever One
Chicago Opera Theater
Servilia
La Clemenza di Tito
Lyric Opera of Chicago
st
1 Flower Maiden
Parsifal
Lyric Opera of Chicago
st
1 Wood Nymph(c) Rusulka
Lyric Opera of Chicago
Violetta (c)
La Traviata
Lyric Opera of Chicago
Adele (c)
Die Fledermaus
Lyric Opera of Chicago
Page
Rigoletto
Lyric Opera of Chicago
Musetta (c)
La bohme
Lyric Opera of Chicago
Sandman, Gretel (c) Hnsel und Gretel
Lyric Opera of Chicago
Norina (c)
Don Pasquale
Lyric Opera of Chicago
Sophie (c)
Werther
Lyric Opera of Chicago
Trainbearer
Elektra
Lyric Opera of Chicago
Norina
Don Pasquale
Ryan Opera Center Workshop
Armida (c)
Rinaldo
Lyric Opera of Chicago
Papagena (c)
Die Zauberflte
Lyric Opera of Chicago
Xenia
Boris Godunov
Lyric Opera of Chicago
Lucia (c)
Lucia di Lammermoor
Lyric Opera of Chicago
Mme. Silberklang
Der Schauspieldirektor
Grant Park Music Festival
Fiordiligi
Cos fan tutte
Ryan Opera Center Workshop
Countess (c)
Le nozze di Figaro
Des Moines Metro Opera
Barbarina
Le nozze di Figaro
Madison Opera
Maria Stuarda
Maria Stuarda
UW-Madison Opera
Thas
Thas
UW-Madison Opera
Nanetta
Falstaff
Voci nel Novafeltria
Alcina
Alcina
UW-Madison Opera
Nella
Gianni Schicchii
Bay Area Summer Opera Theater Institute

CONCERT AND RECITAL
Soloist
Opera in the Park
Madison Opera

Soloist
Mozart C Minor Mass
Bard Festival Chorale at Carnegie Hall
Soloist
Brahms Requiem
Dubuque Symphony Orchestra
Soloist
Schubert The Shepherd on the Rock Knoxville Symphony Orchestra
Soloist
Elgar The Saga of St. Olaf
Bergen Philharmonic, Norway
Soloist
The Gershwin Legacy
Madison Symphony Orchestra
Soloist
Mozart Requiem
Madison Symphony Orchestra
Soloist
Schubert Mass in Eb
Grant Park Symphony

Soloist
A Mirror...Elliot Carter
Ravinia Festival

Soloist
Mozart and Strauss
Grant Park Festival

2017
2017
2016
2016
2016
2015
2015
2015
2015
2015
2014
2014
2014
2014
2014
2013
2013
2013
2013
2012
2012
2012
2012
2012
2012
2011
2011
2011
2011
2011
2010
2010
2010
2009
2009
2009
2008

2016
2016
2016
2014
2014
2014
2014
2013
2013
2012

EMILY BIRSAN
SOPRANO

CRITICAL ACCLAIM

Mimi La bohme Bangor Symphony Orchestra
"Tenor John Bellemer and soprano Emily Birsan portrayed star-crossed but doomed lovers Rodolfo and Mimi. Their voices
intertwined like vines. Birsans Mimi was a woman with a tenacious soul but delicate constitution too fragile for bohemian
poverty. The sopranos beautifully balanced voice so charmed theatergoers that some wept at Mimis demise."










-Bangor Daily News

"In her first appearance as Mimi, Emily Birsan gave a sympathetic portrayal of the dying seamstress, singing with
confidence and beautiful style."





-The Ellsworth American

Lauretta Gianni Schicchi Chicago Opera Theater
Emily Birsan pealed her way through Laurettas music prettily, and looked like a vintage Barbie fresh from the box.










-Opera News

". . . Emily Birsans stunning rendition of O mio babbino caro, easily the most delightful beautiful moment of the entire
production."








-stageandcinema.com

"The other standout, vocally speaking, was soprano Emily Birsan, a Lyric Ryan Opera Center alumna, who chirped the
opera's greatest hit, Lauretta's aria "O mio babbino caro" ("Oh, hear me, dearest daddy," in the awkward translation
employed here) very prettily."





- The Chicago Tribune

Musetta La bohme
Madison Opera
Emily Birsan was not just a vocal knock-out as Musetta, but brought a depth to the role not always encountered. It is one
thing for a soprano to show her tender side as Mimi embarks on her deathbed scene, but even in Act II with the great
Musettas Waltz number, we find Birsan--again with the deft and inventive hand of Lefkowich--bringing more than just a
vocal characterization. She begins the famous number in a kind of halting half-waltz with her sugar daddy, Alcindoro, and
then in mid-aria works the crowd of gawking onlookers in Carmen-esque Habanera fashion. A great touch."






-Madison Magazine

"Musetta, with her shimmying skirts and big smile, is easily the highlight of the show, played by Emily Birsan. Birsan is a
soprano on the rise that Madison can lay some claim to launching, since she picked up a master of music degree from the
University of Wisconsin-Madison in 2010. She makes for a lusty, free-spirited Musetta, and she brings the house down with
a glorious rendition of the familiar Quando men vo, also known as Musettas waltz." -The Cap Times

Boston Lyric Opera
"As the flummoxer-in-chief, the caf singer Musetta, soprano Emily Birsan drew all eyes to her with a slinky, hair-tossing
performance and seductive singing. . .



- Boston Classical Review

"As the coquettish Musetta, soprano Emily Birsan was a delight. Her spirited rendition of "Musetta's Waltz," the bestknown number from the opera, was a highlight of the performance. . . "

-Edge Media Network

"A solid cast sang affectingly on Friday. . . Emily Birsan capably sang the role of Musetta -Boston Globe

"Soprano Emily Birsan brought a light, lilting soprano to the role of Musetta, spinning a lightning-quick vibrato with the
same kind of agile effortlessness with which her character ensnares romantic prey. . . Birsan was not without subtlety; she
too possesses remarkable control over her instrument, and gave a multicolored delivery of Quando men vo, cooing the
nightclub-act take on the aria with all the soft-but-unambiguous sultriness of a seasoned chanteuse. Birsan avoided falling
into the trap of one-dimensionality inherent to a comic secondary lead; in the fourth act, she demonstrated range with a
fervent and desperate prayer for Mims delivery from imminent death. The audience was able to see the human being
beneath Musettas vampy antics as Birsan sang with a warmth and vulnerability only hinted at in the preceding acts.
Coupled with Kaduces three-dimensional, emotionally mature Mim, Birsan brought great poignancy to the scene as a
whole, her prayer lending new weight to the moment when Mim exhorts Marcello to forgive Musettas dalliances and
reconcile with her for good."


-Boston Musical Intelligencer


Anne Trulove The Rakes Progress Edinburgh International Festival
"American soprano Emily Birsan as Anne, dressed in a black tulle skirt with a black and cream brocade bodice, radiated
warmth with her lovely lyrical voice, particularly so in her prayerful I go to him. Her final parting from the babbling Tom
was desperately poignant as her father, a strong voiced supportive Peter Rose, led her slowly away."











-BachTrack.com

Emily Birsan, the newest name to British audiences (but known to Andrew Davis through Chicago Lyric Opera and),
sounded fantastic as Anne. There is brightness and dazzling purity there, exemplified in a fantastic climactic aria at the end
of Act 1, but there is also intelligence in her scene with Baba and a beautiful, heartfelt lullaby with Tom.










-Seen and Heard International

"American soprano Emily Birsan was an ardent, luminous Anne Trulove"

-The Guardian

Soloist Knoxville Symphony Orchestra
"While the Knoxville Symphony Orchestras artist booking policy often leans toward young artists at the beginning of
careers, few of these have impressed and captivated in so many different ways as did soprano Emily Birsan in her
appearance in the orchestras Masterworks concerts this weekend. . . While one was immediately drawn to Birsans poise
and effortless delivery, that respect leapt even higher as she dramatically carried the songs narrative along, supported by
clean, sophisticated tone and miraculously crisp diction. . . An even greater thrill, though, came from Birsan in the Verdi
arias, a performance that revealed surprising reserves of power, depth and warmth in her lower range, and a thrilling
goose-bump raising ability in her substantial upper range. This is a singer that will soon be snapped up hungrily by the
international operatic world, if there is any justice at all."


-Arts Knoxville

The Italian Singer Capriccio Lyric Opera of Chicago
"Similarly, the cacophony in the debate resembles the opening of the third act of Der Rosenkavalier, where the Italian
singer recurs in Capriccio as two Italian singers, which EMILY BIRSAN and Juan Jos de Lon execute with theatrical irony
and musical deftness."






-Seen and Heard International

The Clever One The Clever One Chicago Opera Theater
Best of all was soprano Birsan, whose exquisitely floated tones above the staff provided the most beautiful vocal
moments of the evening in her enchanting portrayal of the title role.

- Opera News

"Yet soprano Emily Birsan in the title role of the unnamed Clever One brought terrific vocal gleam and the kind of
superbly expressive singing that has been largely absent at COT in recent seasons. Mitiseks static treatment of her
character as robotic archetype offered few dramatic opportunities yet Birsans lovely singing of her lullaby to the
narcotized king was the high point of a rather uneven evening."

-Chicago Classical Review

"For sheer vocal splendor, however, Emily Birsans bright, agile singing as the clever girl crowned the night."





- Chicago on the Aisle

"William Dwyer and Emily Birsan sang sweetly as a soldier and the girl Bubikopf from the opposite enemy camp who begin
to fall in love. . . Vocally, Birsan was the highlight of this opera. She sang with unerring pitch and presented a layered
portrayal of a woman with the demeanor of a porcelain doll and the brain of Machiavelli."





-The Contrapunist

Soloist - The Gershwin Legacy- Madison Symphony Orchestra
"Soprano Emily Birsan was here just four weeks ago as soloist in the Mozart Requiem, and is showing every indication of
being a bona fide darling diva in the making. With crystal clear diction and just the right dash of sass Birsan delighted in the
clever By Strauss, and later unleashed her full upper range in a truly dazzling Glitter and Be Gay from Bernsteins
Candide."




-Madison Magazine

"Drawing on theatrical instincts as well as a voice that always makes my day (or evening), Birsan makes truly musical high
points out of her solos. She is cute in a parody song about Johann Strauss (even waltzing briefly with the conductor). She is
dazzling in "Glitter and Be Gay" from Bernstein's Candide, an aria really written for her. Also, in a duet from West Side
Story with Olivo, she was quite touching."


-Madison Isthmus

Soloist The Saga of St. Olaf Bergen Philharmonic

"The American soprano Emily Birsan sang with radiant delicacy."

-The Telegraph

Servilia - La Clemenza di Tito- Lyric Opera of Chicago
"Emily Birsan's Servilia revealed a fresh lyric soprano of fine quality that pealed above the ensembles very prettily."





- Opera News

"The rest of the cast was first rate. . . Emily Birsan, a current Ryan Opera Center member, sang with apt youthful purity as
Servilia, Annios beloved, blending smoothly with Halls lovely mezzo."
-Chicago Classical Review

Emily Birsans cameo aria as the steadfast Servilia was completely charming; indeed she and Cecelia Hall (who portrayed
Servilias sweetheart Annio (in the operas second trouser role) reminded one of the young couple in The Magic Flute
princess Pamina and prince Tamino, whose ravishingly innocent music Davis and his orchestra were most certainly
channeling.




- Chicago on the Aisle

" . . . Birsan's voice, again pure Mozart, lifts up the lovely notes. Her singing helps us understand her attractions, as phrases
draw us in."




- BershireFineArts.com

Rising Stars Concert Lyric Opera of Chicago
Emily Birsan is now in her third and final year with the Ryan ensemble and is going out into the professional world a
seasoned young pro; witness how smoothly she wrapped her lovely lyric soprano around the tricky intervals and wide
range of Anne Truloves aria from Stravinskys The Rakes Progress."
- The Chicago Tribune

Carter "A Mirror on Which to Dwell" with Ensemble Dal Niente - Ravinia Festival
So, too, did Birsan trace the jagged intervals of Carter's six settings of Elizabeth Bishop poems with amazing clarity of
diction, accuracy of intonation and fineness of expression, this despite the welter of splintery, mandarin instrumental
detail that surrounded her.


- John von Rhein, Chicago Tribune

Soloist- Middleton Community Orchestra
"Soprano Emily Birsan was guest soloist, always a blessing for any concert. This talented young woman is surely on the
brink of a major career breakthrough. I have followed her singing since her days as an MA student at the UW School of
Music, and each time she has seemed to mature more and more as an artist. Birsan's contribution was a group of three
very different opera arias. For each one, she aimed not only for beauty of sound but for a projection of character and
situation. She was appropriately sober and pensive in an aria from Mozart's La clemenza di Tito -- part of a role she will
sing in full in the coming production at the Lyric Opera of Chicago. She was all flirtatious coquette in Adele's "laughing"
song from Strauss's Die Fledermaus. Above all, in the long and demanding "mad scene" from Donizetti's Lucia di
Lammermoor, she not only poured out sounds of wonderful beauty and power, but captured the anguish of the demented
heroine with moving pathos. What an impressive Madison product she is!"
- Madison Isthmus

Mozart and Strauss - Ryan Opera Center w/ Grant Park Symphony - Despina Act I Cosi Fan Tutte
Of the women, soprano Emily Birsan was the standout as a terrific Despina, characterful, bright toned and genuinely
funny as the wily maid.




- L. Johnson, Chicago Classical Review

Sandman - Hansel and Gretel - Lyric Opera of Chicago
Soprano Emily Birsan (dressed in black and maneuvering a wispy puppet) is the heavenly-sounding Sandman.










- Chicago-on-the-aisle
Schubert Mass in Eb -Grant Park Symphony
...so soprano Emily Birsan plus tenors John Irvin and Adam Bonanni were most memorable intertwined in the touching
Credo.








- John von Rhein, Chicago Tribune

Violetta aria and duet - Rising Stars Concert - Lyric Opera Chicago
Likewise, Emily Birsan was compelling as Violetta in two excerpts from La traviatas second-act duet with Germont (here
sung by Joseph Lim) and, later in the program, the familiar Sempre libera from the first act (with John Irvin offstage as
Alfredo). Birsans voice and stage presence fit the role, and in the second-act duet, she gradually opened her sound to
match Violettasa clearly audible dramatic turn.



- Seen and Heard International