Hilary Ginther

Mezzo Soprano

Hilary Ginther
Mezzo Soprano

“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 prophesy, prayers, spiritual anguish, religious fervor, heroic valor, tender love, and martyrdom…it was a tour de force, a true epiphany” -rbalthazar@msn.com (The Maid of Orléans, New Orleans Opera)

Mezzo-soprano Hilary Ginther enjoys a career that embraces three centuries’ worth of operatic repertoire from contemporary to baroque. Opera Now Magazine profiled her as one of ten young American singers intent on taking the opera world by storm (“Written in the Stars”), calling attention to her “substantial and richly colored instrument”. Ms. Ginther’s Philadelphia Orchestra debut as a featured soloist in the orchestra’s first-ever performances of Bernstein’s MASS under the baton of Yannick Nézet-Séguin has been recorded by Deutsche Grammophon and was internationally released in March 2018, in commemoration of the composer’s centenary.

During the 2019 – 2020 season Ms. Ginther made her debut for Odyssey Opera in Boston as Anne Boleyn in Saint-Saens’s Henry VIII to great personal critical acclaim (“her Act II aria…very nearly stopped the show, and was one of the highlights of the evening…a production about which even the Met could be envious”.  (Fernandez, Schmopera)  She was then heard in concert with Opera on the James, followed by her role debut as Joan of Arc in The Maid of Orléans with New Orleans Opera. Future engagements include Olga in Eugene Onegin with Opera Omaha  and Rosina in Il Barbiere di Siviglia with Opera Fargo Moorhead Opera, and the role of Adalgisa in Bellini’s Norma in Hong Kong with Musica Viva.

Throughout the 2017–2018 season, Ms. Ginther made a series of auspicious debuts on both coasts. She joined MidAmerica Productions on a program of Haydn and Forrest for her Carnegie Hall debut, followed by her New York City Opera debut as Lureen in the US premiere of Charles Wuorinen’s Brokeback Mountain, and concluding with her Los Angeles Opera debut performing a double bill of Gordon Getty’s operas Usher House and The Canterville Ghost.

During the 2015–2016 season at Florida Grand Opera, Ms. Ginther displayed the range of her artistry singing both Rosina in Rossini’s Il barbiere di Siviglia, as well as the imprisoned Vlasta in Mieczysław Weinberg’s The Passenger. She also covered Liese in The Passenger and Adalgisa in Norma.

Ms. Ginther’s New York appearances have included performances with the Center for Contemporary Opera in a double bill of Louis Andriessen’s Odysseus’ Women and Anaïs Nin, the 2017 local premiere of Carlisle Floyd’s Prince of Players, in which she created the buffa role of Lady Meresvale, and Sesto in La clemenza di Tito, a role in which Ms. Ginther “made a tremendous impression… a big voice and an actor who could meet the role’s demands, doing so with style and dramatic meaning.”(Pelkonen, superconductor.blogspot.com).

Ms. Ginther has fulfilled young artist residencies with Florida Grand Opera, Crested Butte Music Festival, Fargo-Moorhead Opera, Virginia Opera, Wolf Trap Opera, and Opera Saratoga. She has also performed with Opera in the Heights, Opera Fayetteville, Cincinnati Opera, and Mississippi Opera. Ms. Ginther is an Olga Forrai Foundation Grant recipient, and was a semi-finalist in New Jersey State Opera’s Alfredo Silipigni Vocal Competition. She was awarded the Rosalind Jackson Memorial Award for Excellence from Crested Butte Music Festival.  She holds a Master of Music degree from the University of Cincinnati, College-Conservatory of Music.