Lauded for her “theatrical magnetism ” American mezzo-soprano Olivia Vote recently sang role debuts as Mère Marie in the Dialogues des Carmélites with Sarasota Opera and Nicklausse in Les contes d'Hoffmann with Hawaii Opera Theater in the Spring. Next season she looks forward to performing roles with Atlanta Opera, North Carolina
Opera, and Opera Southwest.
In 2016 she collaborated on chamber concerts, recitals and new operatic works. With Santa Fe Opera and Opera Philadelphia Ms. Vote worked on Jennifer Higdon's exciting premiere of Cold Mountain. Also with Santa Fe Opera she participated in the workshop of
the upcoming premiere of The (R)evolution of Steven Jobs, by Mason Bates and Mark Campbell in San Francisco. She sang the role of his wife, Laurene Powell. Olivia joined the world renown Hugo Wolf Quartet from Vienna and performed Respighi's Il Tramonto and selections from Wolf's Italienisches Liederbuch in Massachusetts and NewYork. She then collaborated with pianist Brain Ganz performing multiple song recitals and later went on to win second place at the esteemed Fort Worth McCammon Opera Guild Competition and first place at the Partners for the Arts, Inc. competition in Virginia.
Ms. Vote returned to Opernhaus Zurich to sing Dryade in Ariadne auf Naxos with Fabio Luisi and Flora in a new production of La Traviata under Maestro Armiliato. She first came to Switzerland from 2012-2014 for the Internationales Opernstudio at Opernhaus Zurich. Highlights of her performances during this period included singing Fidalma in Il matrimonio segreto, Philomene in Martinu's Zweimal Alexandre, and as a soloist in Hans Neuenfels's new production, Wie ich Welt wurde, a co-production with the Zurich Shauspielhaus about the life of Richard Wagner. In addition, she performed roles in Rinaldo, La Traviata, Meistersinger, Salome, and Rigoletto. She also had the pleasure of working with such artists and directors as: Brigitte Fassbander, Francesco Araiza, Michelle Breedt, Ann Murray, Luana DeVol, Ivor Bolton, Riccardo Minasi, Christoph Loy and Andreas Homoki.
Prior to beginning her time in Zurich, Ms. Vote participated as a Filene Young Artist with the Wolf Trap Opera Company. There she gained critical acclaim for her portrayal of Donna Elvira in Don Giovanni directed by Tomer Zvulum. She also covered the same role for the Los Angeles Philharmonic earlier that spring.
Olivia was a resident artist at the Academy of Vocal Arts in Philadelphia (AVA) and received her masters from at Yale University. During her time at these prestigious institutions she was fortunate to perform interesting repertoire including: Adalgisa, Giovanna Seymour, Clarion, Meg Page, Orlofsky, Cuniza in Verdi’s Oberto, and Judith in Bluebeard's Castle.
As a frequent concert artist, Ms. Vote was hailed by the Washington Post for “her big, rich voice that explored the nuances of the poetry.” Olivia has appeared as soloist in such works as Verdi’s Requiem, Pergolesi’s Stabat Mater, Beethoven’s Mass in C Major, Mahler’s Lieder eines fahrenden Gesellen and Das Lied von der Erde, and Ravel’s Sheherazade. She sang Schubert's Mass in E flat with Ivor Bolton and the Rai National Symphony Orchestra in Torino, Italy.
An eager and passionate fan of modern music. Olivia has premiered a number of new roles and works. With the 21st Century Consort at the Smithsonian Institution in Washington D.C., she performed “Colors passing though us”, a chamber work written specifically for her by composer and friend David Froom. While at Opernhaus Zurich she created the role of Mary Hawkins in Frank Schwemmer's Die Schatzinsel and at AVA she sang the world premiere of Margaret Garwood’s The Scarlet Letter as Hester Prynne.
In competition Ms. Vote has been a grand finalist in the Francesco Vinas Competition in Barcelona. She won second place in the Loren L. Zachary Society Competition, Alfredo Silipigni International Vocal Competition, and Gerda Lisner Foundation International Competition. She is a grant winner from the Licia Albanese-Puccini Foundation, has been a New England and Mid Atlantic regional finalist and study grant recipient in the Metropolitan Opera National Council auditions, was awarded a Sullivan Foundation Development Grant, and the Phyllis Curtin Career Award from Yale University.