Claudia Chapa
mezzo-soprano
Mexican mezzo-soprano Claudia Chapa received her training from the Butler School of Music at the University of Texas-Austin, where she performed Beatriz LA HIJA DE RAPPACCINI in the world premiere of the late Daniel Catán’s revised version. Her other roles included La Zia Principessa SUOR ANGELICA, the title-role of Rodriguez LA CURANDERA, Gertrude HÄNSEL UND GRETEL and Mrs Herring ALBERT HERRING. She is an alumnus of the prestigious young artist programs at the International Vocal Arts Institute (both in Blacksburg, VA and Tel Aviv, Israel), Des Moines Metro Opera, and the Glimmerglass Festival for which she was chosen as a young artist for two consecutive seasons.
Recent engagements include Zita GIANNI SCHICCHI and the Abbess SUOR ANGELICA for San Diego Opera, Filipjevna EUGENE ONEGIN with the Dallas Symphony Orchestra conducted by Fabio Luisi, Gertrude ROMEO ET JULIETTE with Opera San Antonio, the title-role LA CASA DE BERNARDA ALBA with Cleveland Opera Theatre, Berta IL BARBIERE DI SIVIGLIA for Austin Opera, Josefina EL MILAGRO DEL RECUERDO with Houston Grand Opera and Arizona Opera, Fenena NABUCCO with West Bay Opera, Marcellina LE NOZZE DI FIGARO and Mother Abbess THE SOUND OF MUSIC with Charlottesville Opera, Marcellina LE NOZZE DI FIGARO with Opera Delaware, Ortrud LOHENGRIN with Opera Southwest, Fairy Godmother in Alma Deutscher’s CINDERELLA with Opera San Jose and Berta IL BARBIERE DI SIVIGLIA and Alisa LUCIA DI LAMMERMOOR with Opera San Antonio.
Other operatic engagements include Azucena IL TROVATORE with St. Petersburg Opera Company, La Zia Principessa SUOR ANGELICA and Zita GIANNI SCHICCHI with St. Petersburg Opera, Ulrica UN BALLO IN MASCHERA, Madame Flora THE MEDIUM and the Witch HÄNSEL UND GRETEL with Opera in the Heights, Mary THE FLYING DUTCHMAN and Dryade ARIADNE AUF NAXOS with Austin Opera, Zita in both GIANNI SCHICCHI and BUOSO’S GHOST with Opera Delaware and Baltimore Concert Opera, Bloody Mary SOUTH PACIFIC with Gulf Coast Symphony, Hedwige WILLIAM TELL with Opera Southwest, Mistress Quickly FALSTAFF with Winter Opera St. Louis and Opera in the Heights, Dame Marthe FAUST with Indianapolis Opera and Third Lady DIE ZAUBERFLÖTE with the Glimmerglass Festival.
On the concert platform recent engagements include Beethoven Missa Solemnis with the National Philharmonic (USA), Lieberson Neruda Songs and El Amor Brujo with the Alabama Symphony Orchestra, Handel Messiah with DCINY and Evansville Philharmonic, Beethoven Symphony No.9 with both DCINY and the Alabama Symphony Orchestra Verdi Requiem with the Alabama Symphony Orchestra, DCINY, and Gulf Coast Symphony, Bruckner Te Deum with the Austin Symphony and Mahler Symphony No.2 with the Florida Orchestra.
Upcoming engagements include Josefina EL MILAGRO DEL RECUERDO with San Diego Opera, Lupita CRUZAR LA CARA DE LA LUNA with Austin Opera, Gertrude ROMEO ET JULIETTE for her debut with Dallas Opera and Mahler Symphony no. 2 with the Lubbock Symphony.
Claudia Chapa
General management
Robert Gilder
Managing Director
rgilder@robert-gilder.com
“As Emiline, … Ms. Chapa came into her own in the finale of Act I, when her earthy, distinctive mezzo first caressed lush passages, then at last roared and soared.”
James Sohre, Opera Today
James Sohre, Opera Today
“…Claudia Chapa. She’s a powerful mezzo-soprano with a gift for the intense drama that this story so strongly requires. Brava to her!”
Steve Callahan, BroadwayWorld
“Mezzo-soprano Claudia Chapa delivered one of the opera’s strongest performances as Azucena… Chapa owns a lovely and richly deep voice, and endowed the role of Azucena with a wild abundance.”
Andrew Meacham, Tampa Bay Times
“His wife, Fricka, sung by mezzo-soprano Claudia Chapa, was spot-on musically in her key one-scene role, giving greater depth to her character than one sometimes sees. … Chapa, in the production’s best acting turn, shows the audience the psychological tools she uses to control Wotan, who emerges as the weaker partner in the marriage.”
Bob Ashby, DC Theater Arts
“His wife, Fricka, sung by mezzo-soprano Claudia Chapa, was spot-on musically in her key one-scene role, giving greater depth to her character than one sometimes sees. … Chapa, in the production’s best acting turn, shows the audience the psychological tools she uses to control Wotan, who emerges as the weaker partner in the marriage.”
Bob Ashby, DC Theater Arts
“The four soloists were all up to the operatic demands of their parts, but special mention must be made of Claudia Chapa, a Mexican mezzo-soprano, who has the true Verdi heft and color in her powerful voice.”
Frank Daykin, New York Concert Review
Frank Daykin, New York Concert Review
