Soprano 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. She covered Leticia in Thomas Adès’ latest opera The Exterminating Angel for the Metropolitan Opera, the Royal Opera House Covent Garden, and the Salzburg Festival (world premiere.) Other recent projects include One Art, a monodrama about the life of Elizabeth Bishop, with original art songs by American opera composer Paula Kimper. The world premiere took place at the Canterbury Festival, and the North Amercian premiere at Opera America’s National Opera Center in New York. A companion CD, also called One Art, launched at the Canterbury Festival and 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.

Opera roles include Lucia, Fiordiligi, Konstanze, Volpino Lo Speziale (Haydn), Marquise de Cathé Un Giorno di Regno, and Goldentrill Impresario. 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 first joined the roster of the Metropolitan Opera in the 2012-2013 season, covering Ariel The Tempest, a role she also covered for the Wiener Staatsoper.

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 has collaborated directly with composers, performing in a concert with Thomas Adès based on The Tempest for La Poisson Rouge and for The Shakespeare Society of New York, and sung many premieres, including the world premiere of Paula Kimper’s Patience & Sarah at the Lincoln Center Festival New York, the role of Kaye in the American premiere of John Metcalf’s Kafka’s Chimp with Pittsburgh’s Quantum Theatre.

Concert and oratorio repertoire includes Vaughan Williams Sea Symphony (Canterbury Cathedral), Carmina Burana, Mozart Mass in C Minor (Canterbury Cathedral), 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 at the Canterbury Festival and at St. Pancras Church, London. Her voice was featured in the BBC/Sony Pictures film Rocketmen, and she has released two CDs of opera arias and duets.

Ms. Meloy studied voice 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. Future engagements include One Art at the POW! Festival, and performing Wonder Woman, a song cycle composed by Canadian guitarist Jamie Moore.



‘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.’

‘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 Hecuba and Camilla Roberts as Andromache command their all-female scenes with authority.’
New Statesman

‘ETO can be proud of the singers it has assembled, especially…the strongly contrasted Niamh Kelly and Laure Meloy, Helen and Hecuba.’
Financial Times
Stunningly confident, pure and accurate.’
London Evening Standard
‘Laure Meloy’s thoughtful Queen of the Night was virtuosic and not the usual pantomime caricature of evil.’
The Observer
‘Laure Meloy’s Queen Hecuba was mesmerising.’
‘Excellent in alt, her pitching little short of miraculous. ‘Der hölle Rache’ was delivered with real venom.’
Musicweb International

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  1. Dear Laura Meloy,
    My wife and I so enjoyed your Penally Abbey performance yesterday. I took the liberty of handing you my card as it struck me that you might like to consider my monologues of the two Tenby painters Gwen John and Nina Hammett. These, together with a piece for Augustus John, had two amateur performances but the two women’s voices make a hour length text which you might find both interesting and challenging.
    I would be happy to send you these. We return to the Vale of Glamorgan next week when I can access my study and computer again.
    I do hope that you do not mind this suggestion. It comes entirely encouraged by your energy and wit in the Penally performance.
    Professor Tony Curtis

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