Hilary Ginther
Mezzo Soprano
"...most notable was Hilary Ginther as Anne Boleyn: from the moment she stepped on-stage, she embodied Anne Boleyn's every dramatic beat with pitch-perfect conviction, and her voice proved both tender and powerful: her Act II aria where she contemplates how Henry is considering making her his new queen very nearly stopped the show, and was one of the highlights of the evening."
-Arturo Fernandez, Schmopera
The 2022-23 season begins with Opera Omaha's concert "Opera Outdoors" where Ms. Ginther performs scenes as Santuzza (CAVALLERIA RUSTICANA) and Éboli (DON CARLOS). She then returns to Hong Kong for more bel canto as Elisabetta in Donizetti's MARIA STUARDA, as well as returning to Opera Omaha in SUOR ANGELICA and company debuts at Opera Columbus as Maddalena in RIGOLETTO, and Central City Opera as Emilia in Rossini's OTELLO.
Recently, Ms. Ginther made her company and role debut as Olga in EUGENE ONEGIN with Opera Omaha, traveled to Hong Kong for her international debut with Musica Viva Opera as Adalgisa in NORMA, reprised the role of Rosina in IL BARBIERE DI SIVIGLIA with both Fargo Moorhead Opera and Opera on the James, and was the alto soloist for BEETHOVEN'S 9TH SYMPHONY under the baton of Maestro Joe Illick.
SEASON HIGHLIGHTS
Musica Viva Hong Kong
MARIA STUARDA
(DONIZETTI)
ELISABETTA
DECEMBER 9-11
2022
RIGOLETTO
(VERDI)
MADDALENA
Opera Columbus
MARCH 31-APRIL 1
2023
OTELLO
(ROSSINI)
EMILIA
Central City Opera
JULY 15-AUGUST 6
2023
"The mezzo-soprano's darkly projected voice conveyed Anne's ambition to become queen, but her melting lyricism in her Act 3 duet with Chioldi suggested that her character actually loved Henry." - Boston Classical Review
WATCH AND LISTEN
Making her international debut as ADALGISA in Bellini's NORMA with Musica Viva Hong Kong in July of 2021.
Hilary sings the leading role of JOAN OF ARC in Tchaikovsky's THE MAID OF ORLEANS with New Orleans Opera in February of 2020.
Odyssey Opera welcomed Hilary for her company debut in 2019 as ANNE BOLEYN in Saint-Saëns' rarely performed HENRY VIII.
HIlary has been profiled by Opera Now magazine as one of ten young American singers intent on taking the opera world by storm...
A royal performance as Elisabetta in Donizetti's Maria Stuarda in Hong Kong
"As Elisabetta, mezzo-soprano Hilary Ginther (a stunning Adalgisa in MusicaViva’s Norma last year), is the kind of performer that lights up a stage even before she has even opened her mouth, and when she does, she delivers top-notch singing. With her warm timbre and earthy tessiture, she was reminiscent of both a young Agnes Baltsa and Huguette Tourangeau. Ginther also possesses an impressive evenness throughout the registers, not to mention sensational clarion high notes that soar at will over the ensemble. In a silvery-white gown and glittering ruff (designed by Andrew Cheung), she looked and sounded every inch a queen."
Odyssey Opera releases recording of live performance of Henry VIII by Saint-Saëns
Ms. Ginther's portrayal of Anne Boleyn was met with great acclaim amongst this star-studded cast. The recording from the 2019 performance was recently released and can be purchased digitally or as a 4 disc CD booklet with libretto, translation, history of the piece, performer biographies, and production photos.
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Olga in Eugene Onegin at Opera Omaha
"Hilary Ginther's portrayal of Olga skillfully balanced the charm and tragedy of the character. Her luxurious mezzo-soprano savor ornamented the texture of the ensemble cast just like a favorite Christmas ornament."
"Tatyana's sister [Olga] played by mezzo-soprano, Hilary Ginther, is flirtatious and girlish as the self-absorbed younger sister, decadent yet coyly engaging at the social gatherings she attends."
Hilary triumphs as Adalgisa in Hong Kong
"...it was Dominguez and Ginther’s duets that were arguably the highlights of the evening: the pair’s relative youth added a lightness well-suited to who the characters actually are. Both were likable, and hence believable."
"As the heaven-inspired peasant girl Joan of Arc, Hilary Ginther commanded the stage all the way from her angelic inspiration through triumphs, soul-wrenching romance, crushing tragedy, and divine enlightenment to her ultimate immolation. This tiny but mighty mezzo Maid filled Mahalia’s huge house with the glory of her prophecy, prayers, spiritual anguish, religious fervor, heroic valor, tender love, and martyrdom...I swear it was a tour de force, a true epiphany. I hope Joan of Arc can become this incredible artist’s signature role, and other opera companies should sign Hilary for many more productions of this masterpiece."
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