Lisa Saffer, Soprano

Soprano Lisa Saffer, described by critic Leighton Kerner as “one of those special singers whose technique and blooming sound always serves sense and emotion,” delves into repertoire ranging from Bach to Zimmermann with remarkable incisiveness and musicality. Her versatility was noted again this past season my Richard Dyer reviewing her performance as Handel’s Cleopatra for The Boston Globe: “We know that soprano Lisa Saffer is a stage animal—a couple of years ago she was nominated for London’s prestigious Olivier Award for her performance of the title role in Berg’s Lulu. Her silvery, brainy vocalism was world-class throughout… In the last celebratory aria, she brought the house down, rocketing off coloratura with flourish and showing off a splendid high D.”

Lisa Saffer is well known for her performances in the operas of Handel, many of which have been released on the Harmonia Mundi label. Her first exploration of the early operatic repertoire was in the Stephen Wadsworth productions of The Return of Ulysses (Minerva) and The Coronation of Poppea (Poppea) at the Skylight Opera in Milwaukee. Performances of Poppea in Agrippina, Teofane in Ottone and Polissena in Radamisto at the Halle Handel Festival, Jenny and Polly Peachum in The Beggar’s Opera at the Santa Fe Opera, and Belinda in Dido and Aeneas (directed by Mark Morris) at the Brooklyn Academy of Music (all conducted by Nicholas McGegan) followed. Miss Saffer returned to the Santa Fe Opera as Poppea in the Francisco Negrin production of Agrippina conducted by Harry Bicket in summer 2004. Earlier in the season she made her debut at the Bayerische Staatsoper in Munich as Almirena in the David Alden production of Rinaldo, also conducted by Harry Bicket. She also performed Drusilla in Poppea in the Jonathan Miller production at BAM, and at Glimmerglass she portrayed the title role of Partenope. In addition to the title role of Partenope, at the New York City Opera, she gave her first performances of Almirena in Francisco Negrin’s production of Handel’s Rinaldo. Both the Partenope and the Rinaldo productions were conducted by Harry Bicket. Last season Lisa Saffer performed Atalanta in the Stephen Wadsworth production of Xerxes with the company. With the Mark Morris Dance Company she appeared in Rameau’s Platée (roles of Thalie and Clarine) at the New York City Opera, reprising earlier performances under the auspices of Cal Performances on the Berkeley Campus. The soprano’s first performances as Dalinda in Handel’s Ariodante were at the New York City Opera as well, and she will perform the role in her debut at the Gran Teatro del Liceu this season, making her debut in Achim Freyer’s production conducted by Harry Bicket. She added the role of Cleopatra in Handel’s Giulio Cesare to her repertoire in James Robinson’s production at Utah Symphony & Opera, repeated the role with Boston Baroque and will make her debut at San Diego Opera as Cleopatra in the upcoming season. The John Copley production will be conducted by Kenneth Montgomery. She will also make her debut at Arizona Opera performing title role in Handel’s Semele for the first time in performances conducted by General and Artistic Director Joel Revzen. Chas Rader-Shieber will direct the production.

Other Early Music projects have included appearances in the role of Antigona in the rarely performed Admeto with Emmanuel Music in Boston. She performed the role of Amore in Gluck’s Orfeo ed Euridice under the auspices of the prestigious University Musical Society at the University of Michigan in her hometown of Ann Arbor. Lisa Saffer also returned to Glimmerglass Opera for her first performances as Angelica in a James Robinson production of Haydn’s Orlando Paladino (conducted by Guido Johannes Rumstadt) and the title role in the Simon Callow production of Cavalli’s Calisto, which was conducted by Jane Glover. At the Boston Early Music Festival she also performed Iole in Cavalli’s Hercules.