"a tour de force of singing and acting"
- Kevin Wells, Bachtrack
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Otto Tausk, Conductor
Anne Manson, Conductor
Geneviève Pelletier, Stage Director
Anne Manson, Conductor
Geneviève Pelletier, Stage Director
Daniele Rustioni, Conductor
Yannis Kokkos, Stage Director
Daniele Rustioni, Conductor
Yannis Kokkos, Stage Director
2022/23 Carmen at the Canadian Opera Company and Calgary Opera; debut at LA Opera as Cherubino Le nozze di Figaro James Gray/James Conlon; Grand Théâtre de Genève world-premiere of Jost’s Voyage vers l’espoir as La mère Meryem; Bayerische Staatsoper debut as Fenena in Verdi’s Nabucco under Daniele Rustioni.
Concert appearances: Philharmonia Baroque Orchestra for Handel’s Messiah under Richard Egar, Vancouver Symphony Orchestra with Berlioz’s Les nuits d’été under Otto Tauskand; Ruggiero in Handel’s Alcina with Manitoba Chamber Orchestra. Recitals with pianist Valeria Polunina in Tallinn, Estonia and alongside Brian Zeger at the Kennedy Center, presented by Vocal Arts DC
Washington National Opera as Dorabella Così fan tutte debut; Houston Grand Opera in the world premiere of Tarik O’Regan’s The Phoenix; Penelope Il ritorno d’Ulisse in patria with Ensemble I Gemelli; Maddalena Rigoletto at the Opéra National de Montpellier; debut at Palm Beach Opera as Carmen, Charlotte Werther at Opera Vlaanderen, Rosina in Il barbiere di Siviglia at Cincinnati Opera; Offenbach’s Fantasio at Opéra de Montpellier, Dorabella Così fan tutte at Teatro Santiago de Chile, Kasturbai in Philip Glass’ Satyagraha at Opera Ballet Vlaanderen; Carmen in Lydia Steier’s production at the Oper Köln. Lola in Robert Carsen Cavalleria Rusticana at the Dutch National Opera under Lorenzo Viotti; and a return to The Metropolitan Opera as Zerlina Don Giovanni under Cornelius Meiste and Nefertiti Akhnaten conducted by Karen Kamensek.
As part of the San Francisco Opera Merola Opera Program debuted Cherubino Le nozze di Figaro; Canadian Opera Company’s Ensemble Studio: Sesto La clemenza di Tito. At Glyndebourne Festival as Mércedès Carmen under Jakub Hrůša, and Flora La traviata under Andrés Orozco-Estrada. As a former member of the The Metropolitan Opera’s Lindemann Young Artist Program: Zulma L’italiana in Algeri, Laura Luisa Miller, Lola Cavalleria Rusticana and Sandmännchen Hänsel und Gretel.
Orchestre symphonique de Montréal under Johannes Debus in Mahler’s Lieder eines fahrenden Gesellen, programme of Rossini under Kent Nagano; Toronto Symphony Orchestra Handel’s Messiah and under Gustavo Gimeno in Beethoven’s Symphony No.9; M. de Falla’s Three-Cornered Hat with both Vancouver Symphony Orchestra under Otto Tausk and Bournemouth Symphony Orchestra under Carlos Miguel Prieto. At the Toronto Summer Music Festival Das Lied von der Erde which she reprised at the Rockport Music Festival. Rrecorded both Bach’s Mass in B minor and Beethoven’s Symphony No.9 Orchestre Métropolitain under Music Director Yannick Nézet-Séguin, the latter released on Deutsche Grammophon’s online platform DG Stage. Reprised Beethoven’s Symphony No.9 with Nézet-Séguin and The Philadelphia Orchestra at Carnegie Hall.
Among a number of grants, Third Prize at the 2018 Operalia Competition, Grand Prix at the Gerda Lissner International Vocal Competition, and prizes at both the George London Foundation Competition and the Metropolitan Opera National Council Auditions.
Mozart - La clemenza di Tito - Deh per questo istante solo
Mozart - La clemenza di Tito - Deh per questo istante solo
Masssenet - Werther - Ah! Mon courage m’abandonne!
Masssenet - Werther - Ah! Mon courage m’abandonne!
Chaieb is stunning in the leading role, with a razor sharp presence that really suits the larger-than-life persona that Carmen has taken on in both the story, and in popular culture. She sings through the repertoire beautifully, but puts equally as much into her acting and delivery as she does her vocal performance to really sell the elusive, strong aspects of the character.
Chaieb was simply a dream of a Dorabella, with her big, easily expressive features, trim figure (looking utterly lovely in Lynly A. Saunders’s elegant costumes), and darkly alluring mezzo-soprano voice, vibrant but never too much so, with an unfailing communicative circuit running straight from the heart to the vocal cords.
...the mezzo-soprano Rihab Chaieb, the cast’s newcomer, as Nefertiti, Akhnaten’s wife. Long presented at the Met in operas from the 18th and 19th centuries, she was singing a new kind of role on Thursday, one she seized with assurance and ringing might. [...] her lush, vibrato-rich sound was a productive contrast to [Anthony Roth Costanzo] ethereal purity — she grounded and he celestial, they met somewhere in the middle for their long, hypnotically sensual love duet.
