Lillian Sengpiehl has not only been acclaimed for her beautiful vibrant sound and color of voice, but also for her poise, beauty, and impressive ease onstage as a consummate actress. Her unique interpretations and musicianship have kept her busy for a decade singing new works and traditional works within the fields of opera, concert and musical theater. This spring similar acclaim came with the world premiere of
, a hyper-opera with the new Los Angeles company The Industry directed by Yuval Sharon and written by Anne Lebaron. Sengpiehl’s performance of Homesick Woman was praised by Mark Swed in the Los Angeles Times as “
.” She also was the soloist this spring with the Northeast Kansas Topeka Symphony, singing opera arias featured in film and musicals. Sengpiehl has performed leading roles with opera companies and orchestras throughout the states and abroad including the Scandinavian premiere of Carlisle Floyd’s
Sengpiehl made her New York City Opera debut as Stella LES CONTES D’HOFFMANN and covered Miss Jessel THE TURN OF THE SCREW. “She performed with exquisite grace and unparalleled talent,” said The New York Times. Ms. Sengpiehl performed the roles of Micaela CARMEN with Wichita Grand Opera conducted by Eugene Kohn, “a naïve and appealing Micaela with silvery tones” and also Musetta LA BOHÈME directed by Anna Moffo.
Other notable roles include Mimi LA BOHÈME with Union Avenue Opera Theatre in St. Louis as well as Harrisburg Opera where she, “sang and acted convincingly with the production’s most polished voice,” (St. Louis Dispatch). Other roles she has performed include Poppea L’INCORONAZIONE DI POPPEA, Mabel THE PIRATES OF PENZANCE, Countess LE NOZZE DI FIGARO.
Dedicated to performing music of contemporary composers, Ms. Sengpiehl created the role of Young Anna Akhmatova in Mel Marvin’s GUEST FROM THE FUTURE at the Fischer Performing Arts center, part of the celebrated Bard Festival in New York. She also sang the lead role in the premiere of HOW TO MAKE LOVE produced by Chevy Chase at Columbia University Miller Theater in New York City. Ms. Sengpiehl has recorded numerous soundtracks as a member of the Phillip Glass ensemble, including Martin Scorsese’s KUNDOON, and she is the soloist on the highly successful video game series World of Warcraft.
Lillian Sengpiehl received her Bachelor degree in Theater and Voice from the University of Kansas, and pursued graduate work at The Manhattan School of Music. She was the winner of the Classical Singer Competition at Weill Recital Hall, a recipient of The Birgit Nilsson Grant and a finalist in the Midwest Metropolitan Opera Auditions.
“Winning the hearts of the audience with passionate devotion in every role she performs,” (St. Louis Dispatch), Lillian Sengpiehl possesses poise, beauty, and vocal finesse. Similar acclaim came with the Scandinavian Premiere of Carlisle Floyd’s SUSANNAH in April 2006. “The young American soprano sang a believable show with passion and balance…Sengpiehl is a flawless performer.” (Bergen Tidende BT). In November of 2006 she sang her first American performances of SUSANNAH with Virginia Opera.
Making her New York City Opera debut as Stella LES CONTES D’HOFFMAN and Miss Jessel TURN OF THE SCREW, “she performed with exquisite grace and unparalleled talent,” (New York Times). Ms. Sengpiehl performed Micaela CARMEN with Wichita Grand Opera conducted by Eugene Kohn, “a naïve and appealing Micaela with silvery tones” (Opera Japonica), and also Musetta LA BOHÈME directed by Anna Moffo. Other notable roles include Mimi LA BOHÈME with Union Avenue Opera Theatre in St. Louis as well as Harrisburg Opera, “Sang and acted convincingly with the production’s most polished voice,” (St. Louis Dispatch). Other roles she has performed include; Poppea L’INCORONAZIONE DI POPPEA, Lauretta GIANNI SCHICCHI, Mabel PIRATES OF PENZANCE, Susanna LE NOZZE DI FIGARO and Gontran UNE EDUCATIONE MANQUEE.
Dedicated to performing music of contemporary composers, Ms. Sengpiehl created the role of Young Anna Akhmatova in Mel Marvin’s GUEST FROM THE FUTURE in 2004 at the Fischer Performing Arts center, part of the celebrated Bard Festival in New York. She also sang the lead role in the premiere of HOW TO MAKE LOVE produced by Chevy Chase at Columbia University Miller Theater of NY. Ms. Sengpiehl has recorded numerous soundtracks as a member of the Phillip Glass ensemble, including Martin Scorsese’s KUNDOON.
Lillian Sengpiehl received her Bachelor degree in Theater and Voice from the University of Kansas, and pursued graduate work at The Manhattan School of Music. She was the winner of the Classical Singer Competition at Weill Recital Hall, a recipient of The Birgit Nilsson Grant, and a finalist in the Midwest Metropolitan Opera Auditions. Ms. Sengpiehl enjoys playing the guitar and has studied the violin for 12 years.
Lillian Sengpiehl has not only been acclaimed for her beautiful vibrant sound and color of voice, but also for her poise, beauty, and impressive ease onstage as a consummate actress. Her unique interpretations and musicianship have kept her busy for a decade singing new works and traditional works within the fields of opera, concert and musical theater. This spring similar acclaim came with the world premiere of CRESCENT CITY, a hyper-opera with the new Los Angeles company The Industry directed by Yuval Sharon and written by Anne Lebaron. Sengpiehl’s performance of Homesick Woman was praised by Mark Swed in the Los Angeles Times as “outstanding,” and Joseph Mailander noted she was a “stunningly talented soprano, stepping into the stage in a large way with sincerity.” She also was the soloist this spring with the Northeast Kansas Topeka Symphony, singing opera arias featured in film and musicals. Sengpiehl has performed leading roles with opera companies and orchestras throughout the states and abroad including the Scandinavian premiere of Carlisle Floyd’s SUSANNAH in 2006. Of this performance a Bergen periodical noted, “The young American soprano sang a believable show with passion and balance…Sengpiehl is a flawless performer.” She was delighted to reprise the role in 2007 with Virginia Opera, “delivering with conviction and depth.” said the Washington Post.
