Laure Meloy recently made her debut in Germany as Zaïde with Theater Freiburg, in the premiere of Zaïde/Adama, Chaya Czernowin’s updated realisation of Mozart’s unfinished opera. Other recent projects include One Art, a monodrama about the life of Elizabeth Bishop, with music by American opera composer Paula M. Kimper. The world premiere took place at the Canterbury Festival, the North American premiere at the National Opera Center in New York, and the London premiere, with new added music, at the Tête à Tête Opera Festival 2019. A companion CD, also called One Art, was named a winner in the HPR International Art Song Contest. She also made her debut at Hungarian State Opera, as Ariel in Thomas Adès’ The Tempest.
Mainstream opera roles include Lucia, Fiordiligi, Konstanze, and Marquise de Cathé Un Giorno di Regno. Laure has performed with the Royal Opera House Covent Garden, English National Opera, Welsh National Opera, Opera North, the Florentine Opera of Milwaukee, Aspen Opera Theater, and the Orchestra of St. Luke’s. She joined the roster of the Metropolitan Opera for the 2012-2013 and 2017-2018 seasons.
Ms. Meloy has made a specialty of singing challenging 20th and 21st century repertoire, with roles such as Berg’s Lulu, Madame Mao Nixon in China, Janine/Ofwarren A Handmaid’s Tale, Henze’s Hilda Mack (Elegy for Young lovers) and Ligeti’s Venus/Geppo (Le Grand Macabre.) She was critically acclaimed for Hecuba in English Touring Opera’s Olivier Award winning King Priam (Tippett.) Laure performed in a Tempest themed concert with Thomas Adès for La Poisson Rouge and The Shakespeare Society of New York. She covered Leticia in Adès’ latest opera The Exterminating Angel for the Metropolitan Opera, the Royal Opera House Covent Garden, and the Salzburg Festival (world premiere.) She sang in the world premiere of Paula M. Kimper’s Patience & Sarah at the Lincoln Center Festival New York, and the role of Kaye in the American premiere of John Metcalf’s Kafka’s Chimp.
Concert repertoire includes Vaughan Williams Sea Symphony, Mozart Mass in C Minor (both at Canterbury Cathedral), Carmina Burana, Gounod St. Cecilia Mass, Rossini Stabat Mater, Rossini Petite Messe Solennelle, Poulenc Gloria (Minnesota Public Radio), Beethoven Mass in C, Vivaldi Magnificat, Haydn Creation (Bronxnet Television), Brahms Requiem, and Rutter Gloria (Minnesota Public Radio). She has presented recitals in Minneapolis, Broadstairs, at the Canterbury Festival and in London. Her voice was featured in the BBC/Sony Pictures film Rocketmen, and she has released two CDs of opera arias and duets.
Born in the United States, Ms. Meloy studied at Central Michigan University (B Mus, cum laude), the University of Minnesota (M Mus), and Manhattan School of Music. She was a Young Artist/Apprentice at the Aspen Opera Theater, the Florentine Opera of Milwaukee, and Sarasota Opera. She lives in the UK, and holds dual US and UK citizenship. Future plans include Irene Rienzi at St. John’s Smith Square, London, cover Brünnhilde Die Walküre for Longborough Festival Opera, the title role in Miss Havisham’s Wedding Night, and Saraswati Mirabai (world premiere).
‘Ariel, the mischievous sprite at Prospero’s beck and call, is a tour de force role that calls for supersonic hissy-fits above high C – the sonic embodiment of a musical tempest…Soprano Laure Meloy is astounding in her performance as Ariel, a role that’s a brilliant stroke from Adès’ pen. He has created a serious competitor for Mozart’s Queen of the Night. In this production, Ariel is an airborne theremin, a fireball of fioritura…flitting about on pulleys and wires. Needless to say, she’s a scene stealer.’ Bachtrack.com
‘Impressive poise and a finished soprano.’ The New York Times
‘Meloy sings the enchanting Zaide Aria “Ruhe sanft mein holdes Leben” smoothly to the top, with a substance that seems to extend far beyond the required lyricism.’ Opernwelt
‘Pleasing flexibility and admirable control.’ Opera News
‘Laure Meloy was outstanding in Hecuba’s entreaty to Camilla Roberts’s noble Andromache.’ The Spectator
‘Laure Meloy’s thoughtful Queen of Night was virtuosic and not the usual pantomime caricature of evil.’ The Observer
‘…a soprano with an open, expressive face, and an off centre stage presence…she was never less than engaging. A tremendous singer…the audience were held, almost not daring to breathe. The contrast of a trained soprano and a jazz(y) backing is something I’ve seldom encountered, and it’s sensationally successful, certainly on this occasion.’ MrToddsSwinging