MEET THE SOLOIST: Emily Marvosh, mezzo-soprano

Mezzo-soprano Emily Marvosh performs Handel's Messiah
December 4, 2022, 3PM

Background: Miss Marvosh can be heard on two recent GRAMMY-nominated recordings: Brahms's Ein Deutsches Requiem with Seraphic Fire, and Prayers and Remembrances with True Concord Voices and Orchestra. She belongs to Beyond Artists, a coalition of artists that donates a percentage of their concert fees to organizations they care about. She supports Common Cause and Rosie’s Place through her performances. She holds degrees from Central Michigan University and Boston University.

Highlights: 

• Following her solo debut at Boston’s Symphony Hall in 2011, she has been a frequent soloist with the Handel and Haydn Society under the direction of Harry Christophers. Other recent solo appearances include the American Bach Soloists, Washington National Cathedral, and Charlotte Symphony (Messiah), Tucson Symphony Orchestra (Mahler’s 3rd Symphony), Chorus Pro Musica (Stravinsky’s Les Noces), Landmarks Orchestra (Beethoven’s Ninth Symphony), L’academie (Vivaldi’s Nisi Dominus), Back Bay Chorale (Bach Magnificat), the Brookline Symphony (Elgar’s Sea Pictures), the Boston Early Music Festival Fringe, Cantata Singers (Beethoven’s Missa Solemnis), and the Chorus of Westerly (Dvořak Stabat Mater and Bach Mass in B Minor). 
• Awards include the prestigious Adams Fellowship at the Carmel Bach Festival, the American Prize in the Oratorio and Art Song divisions, and second place in the New England Regional NATSAA competition.
• Her contributions to 21st century repertoire and performance include world premiere performances with Juventas New Music and the Manchester Summer Chamber Music Festival, and in 2013, Miss Marvosh created the roles of Viviane and the Mother in the world premiere of Hugo Kauder’s Merlin with the Hugo Kauder Society. She is a founding member of the Lorelei Ensemble, which promotes innovative new music for women. 

Critical Praise:

• “The great singing actress Marvosh, looking like a Medea in her stunning black and white gown, is entering a stunningly golden vocal maturity. She never forced her instrument, and Christophers allowed her freedom of expression including delicious rubatos, indelible pianissimos, and some very original bluesy ornaments." The Boston Musical Intelligencer
• "Alto Emily Marvosh gave an unearthly calm to “But who may abide the day of his coming?” and was beautifully plainspoken in “He was despised and rejected of men." The Boston Globe
• "Yet it was Marvosh whose velvety textures and passionate delivery made for the most enchanting moments. From first appearance (“But who may abide the day of his coming”) to last (“Thou art gone up on high”), she brought not only an emotional but also spiritual acuity to her renderings. Of those, “He was despised” was utterly moving for its contemplative patience. Even when she wasn’t singing, Marvosh brought poise to her listening, smiling throughout as the choir soared over such popular landscapes as “For unto us a Child is born.” Worcester Telegram



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