Skip to page content

Sheri Greenawald

Performer

About this Artist

SHERI GREENAWALD has appeared throughout North America and Europe in a wide variety of roles, bringing to each her intense dramatic personality and exacting musicianship. She has been engaged and re-engaged by leading American theaters, among them San Francisco Opera, Lyric Opera of Chicago, The Santa Fe Opera, Seattle Opera, Houston Grand Opera, The Washington Opera, Dallas Opera, and Opera Theatre of St. Louis. Her eclectic repertoire has taken her from the coloratura heights of Mozart's Donna Anna and Rossini's Armida to the vivid personality roles such as Lehár's Hanna Glawari and J. Strauss' Rosalinde. Between these have come the title role in Massenet's Cendrillon, both Musetta and Mimi in La bohème, Anne Trulove in The Rake's Progress, Magda in La rondine, Violetta in La traviata, Blanche in Les dialogues des Carmélites, as well as two dozen other roles.

Highlights of Ms. Greenawald's recent seasons include performances of the role of Countess Charlotte Malcolm in Houston Grand Opera's production of A Little Night Music, opposite Frederica von Stade and Evelyn Lear, and the title role in Barber's Vanessa for Seattle Opera. The soprano traveled to Detroit for performances of Ellen Orford in Peter Grimes with Michigan Opera Theatre, was seen as Rosalinde in Die Fledermaus in a Gala Millennium Concert with the St. Louis Symphony, and returned to The Santa Fe Opera for the title role in Countess Maritza. Ms. Greenawald recently portrayed the title role in Daniel Catan's Florencia en el Amazonas for Los Angeles Music Center Opera, a role she sang at the work's 1996 world premiere with Houston Grand Opera and repeated with Opera de Bellas Artes in Mexico City in 1999. She traveled to Amsterdam for performances of Madame de Lidoine in Les dialogues des Carmélites with The Netherlands Opera, and soon thereafter she returned to Seattle Opera for further performances as Florencia and as Mimi in La bohème. In summer of 2000 New York audiences heard her in the rarely presented Ernst Toch monodrama Egon und Emilie with the EOS Orchestra. In the spring of 2001 Seattle audiences will hear her again as Alice Ford in Falstaff.

In concert, Ms. Greenawald has appeared in her home state, where she was seen with the West Virginia Symphony for concerts of Mahler's Second Symphony, and as far away as Japan, where she appeared with the NHK Symphony in performances of Britten's Spring Symphony under the direction of André Previn. She recently appeared in Beethoven's Ninth Symphony with the Houston Symphony, led by Christoph Eschenbach; Bernstein's Songfest at Tanglewood, under the direction of Seiji Ozawa; and Mahler's Fourth Symphony in West Virginia.

Sheri Greenawald's career highlights have included performances of Jenny Smith in Rise and Fall of the City of Mahagonny at the Metropolitan Opera; Donna Anna in performances of Don Giovanni conducted by Sir Colin Davis with the Bayerische Staatsoper; Gluck's Orfeo for Seattle Opera; staged performances of Donna Anna with the Chicago Symphony; Mimi in Gian-Carlo Menotti's staging of La bohème for The Washington Opera; Natasha in Francesca Zambello's production of War and Peace for Seattle Opera; the dual roles of Anne Sexton and the Witch in Conrad Susa's Transformations for Opera Theatre of St. Louis; and Pauline in the first American staging of Prokofiev's The Gambler at Lyric Opera of Chicago. Ms. Greenawald returned to Lyric Opera of Chicago in the Fall of 1995 for performances of Marie Antoinette in John Corigliano's The Ghosts of Versailles. She has sung many of her great roles for The Santa Fe Opera, including her first American performances of the Countess in Capriccio and recent performances of Christine in Intermezzo.

Highlights of Sheri Greenawald's European career have included Susanna in Le nozze di Figaro and the Governess in Turn of the Screw, both for The Netherlands Opera; Malinka in Janacek's The Excursions of Mr. Broucek for the Bayerische Staatsoper; the Marschallin in Der Rosenkavalier in Naples and Venice; and Donna Anna in Genoa. She marked her debut at Welsh National Opera as the Marschallin, where she was soon re-engaged for performances of the Countess in The Marriage of Figaro.