American mezzo-soprano Robynne Redmon has firmly established herself as one of the finest leading ladies of this generation, having the unusual distinction of success in Bel Canto, French Grand Opera and the Italian Dramatic Repertoire.
Ms. Redmon has been hailed the world over for her "glorious singing, intense acting, excellent phrasing, ardent tone, splendid shading, solid coloratura and excellent artistic sense". (Das Opernglas) She has graced the world's greatest stages including The Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, Teatro alla Scala, Staatsoper Berlin, Bayerische Staatsopera, Opéra de Marseilles, Teatro Regio di Torino, Teatro Municipal de Santiago, Opéra Montréal, Santa Fe Opera, Opera Theatre of Saint Louis, New York City Opera, Atlanta Opera, Boston Lyric Opera and Minnesota Opera. Ms. Redmon has not only made her indelible mark in standard repertoire, but she has also been an ardent champion of new works as well, creating such roles as the eponymous role of Bright Sheng's opera, Madame Mao.
Ms. Redmon has been hailed the world over for her "glorious singing, intense acting, excellent phrasing, ardent tone, splendid shading, solid coloratura and excellent artistic sense". (Das Opernglas) She has graced the world's greatest stages including The Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, Teatro alla Scala, Staatsoper Berlin, Bayerische Staatsopera, Opéra de Marseilles, Teatro Regio di Torino, Teatro Municipal de Santiago, Opéra Montréal, Santa Fe Opera, Opera Theatre of Saint Louis, New York City Opera, Atlanta Opera, Boston Lyric Opera and Minnesota Opera. Ms. Redmon has not only made her indelible mark in standard repertoire, but she has also been an ardent champion of new works as well, creating such roles as the eponymous role of Bright Sheng's opera, Madame Mao.
A consummate veteran of the stage, Ms. Redmon continues to add new repertoire befitting the splendor of her magnificent instrument and stage gravitas. Recently, she has had phenomenal success in such roles as Gertrude in Hamlet, La Principessa in Puccini's Suor Angelica, and Verdi's Amneris in Aida and Azucena in Il Trovatore. She has also assumed the mantle of several of Strauss' greatest characters including Herodias in Salome and The Composer in Ariadne auf Naxos.
Always seeking to broaden her artistic horizons, Ms. Redmon has made it a point to lend her considerable talents to the great recital and orchestral stages of the world. Her large and varied concert repertoire has included Verdi's Requiem, Beethoven's Missa Solemnis (available on Naxos), Dvorak's Stabat Mater and Mahler's great symphonies, Nos. 2, 3 and 8.
Always seeking to broaden her artistic horizons, Ms. Redmon has made it a point to lend her considerable talents to the great recital and orchestral stages of the world. Her large and varied concert repertoire has included Verdi's Requiem, Beethoven's Missa Solemnis (available on Naxos), Dvorak's Stabat Mater and Mahler's great symphonies, Nos. 2, 3 and 8.
Critical Acclaim
HAMLET, 2015
…...Robynne Redmon (Gertrude) … .sang astonishingly well. Redmon’s plush mezzo ranged from a clarion top to a resonant bottom, with no breaks along the way.
-Opera News
Robynne Redmon has a stentorian mezzo-soprano voice and her Gertrude is a stately figure who tries to calm down all of the exploding interactions around her. But in her scene with Hamlet, her control slips and she lets it all out. Their confrontation is one of the dramatic high points of the production.
-Gregory Sullivan Isaacs, Theater Jones
MAHLER SYMPHONY NO. 2
...the clear enunciation in Robynne Redmon's Urlicht, further distinguished by her beautiful lyrical line [and] her lovely blend with BARBARA QUINTILIANI's overarching soprano in the finale...
-The Boston Musical Intelligencer
The fourth movement, an apocalyptic eruption, moves from a pensive song for mezzo-soprano through Mahler's peerlessly noisy view of Judgment Day: part Pandemonium, part anguished spiritual groping, Last Trumpet. If Amado could not make this sprawling movement coherent, he made it viscerally exciting. MS. REDMONS's singing focused the composer's epic vision of human salvation in an unforgettably personal way. The finale, blending soloists, chorus and the [Delaware Symphony Orchestra] in a final triumphant hymn, brought the capacity audience to its feet in a standing ovation.
-Delaware Online
MAHLER SYMPHONY NO. 3
ROBYNNE REDMON was the soloist in the fourth movement. She is a mezzo soprano, but she sounds like a contralto, and her voice has a thrilling depth and deep, rounded tones. It contrasted beautifully with the woodwinds and the violins [of the Buffalo Philharmonic Orchestra]. She lent passion to the music. It is important with Mahler to give your all.
-The Buffalo News
VERDI REQUIEM
Of course, Verdi’s Requiem isn’t solely a portrait of God’s wrath and the end of days. The movements evoking Judgment Day and the fear it inspires - “Dies Irae” - alternate with passages that plead for God’s deliverance and mercy. Four soloists take the lead in expressing these appeals, and the quartet employed here - soprano Kallen Esperian, mezzo-soprano ROBYNNE REDMON, tenor Karl Dent, and bass-baritone Christian Van Horn - did so with a richness of emotion that would have won charity from the most hard-hearted of deities. In the petition for eternal light to shine upon the souls of the departed, REDMON’s voice itself illuminated the hall.
-The Austin Chronicle
IL TROVATORE
Yet the real surprise is American mezzo ROBYNNE REDMON as the gypsy, Azucena. The best actor in the cast, REDMON makes her Australian debut in this role (singing a high C, no less), and she is not to be missed!
-Media Culture
DEAD MAN WALKING
Sometimes one performance of an opera so burns itself into your memory that all subsequent ones are judged by its standards. For Dead Man Walking, for me, that was Fort Worth Opera’s in 2009. The very incarnation of Sister Helen Prejean’s grounded decency, Robynne Redmon made the nun’s spiritual struggles with the convicted killer Joseph De Rocher the stuff of goosebumps.
-Scott Cantrell,Dallas Morning News
Helen Prejean, performed with stamina and a gorgeous sense of lyricism by Robynne Redmon, naturally carries the greatest dramatic burden as she struggles with the concept of loving someone whom one could much more easily hate.
-Theater Jones
It’s hard to imagine a more compelling Sister Helen than ROBYNNE REDMON, her mezzo as firm and forthright as her persona.
-DFW.com