Hailed by The New York Times for her “plush, full sound, yet also youthful brightness,” American mezzo-soprano Angela Brower is one of the most sought-after lyric mezzo-sopranos of her generation. A former member of the Bayerische Staatsoper and alumna of their studio, she continues to bring her compelling artistry and musicianship to the world's leading opera houses and concert venues.
In the 2019/20 season, Brower makes several anticipated house debuts at the Metropolitan Opera as Octavian Der Rosenkavalier, at Dutch National Opera as Dorabella Così fan tutte and at Opéra National de Bordeaux as Susanna Le Nozze di Figaro, Dorabella Così fan tutte, and Zerlina Don Giovanni in their Da Ponte Trilogy. Brower also returns to Stadttheater Klagenfurt to make her role debut as Cendrillon. On the concert platform, Brower returns to Mozartwoche Salzburg as Cherubino Le Nozze di Figaro and makes her debut with the Südwestdeutsche Philharmonie Konstanz performing Berg’s Sieben frühe Lieder and Mahler Symphony No.4.
Last season Brower made a company and role debut with Lyric Opera of Chicago as Idamante Idomeneo, under the baton of Sir Andrew Davis, as well as a company debut at Oper Stuttgart as Nicklausse Les Contes d’Hoffmann. Other highlights included Dorabella Così fan tutte and Adalgisa Norma, both at Bayerische Staatsoper, as well as her highly anticipated South American debut at the Teatro Mayor de Bogotá as Octavian in Strauss’ Der Rosenkavalier. On the concert platform her engagements included Mozart’s Requiem with the Vienna Philharmonic under the baton of Andrés Orozco-Estrada; a concert with the Aachen Symphony Orchestra which featured works by Debussy, Chausson, Ravel and Duruflé; and Rossini’s Stabat Mater with the Radio Philharmonic Orchestra at the Het Concertgebouw in Amsterdam.
Recent successes include a series of house debuts with Opéra de Paris as Annio La Clemenza di Tito; with Deutsche Oper Berlin as Prince Orlovsky in a new production of Die Fledermaus; and as Komponist Ariadne auf Naxos at the Festival d’Aix-en-Provence in a new production by Katie Mitchell. Other highlights included Dorabella in new productions of Mozart’s Così fan tutte at Salzburg Festival and Royal Opera House; Dorabella and Octavian at the Bayerische Staatsoper, Tamiri in Mozart’s Il re pastore at Lucerne Festival; Der Komponist Ariadne auf Naxos at Glyndebourne Festival; Dorabella at the Accademia Nazionale di Santa Cecilia; Rosina Il barbiere di Siviglia at the Wiener Staatsoper; Siebel Faust at the Festspielhaus Baden-Baden; and Nicklausse Les Contes d’Hoffmann and Cherubino Le Nozze di Figaro both at San Francisco Opera. At Bayerische Staatsoper she was heard as Annio and Sesto in La Clemenza di Tito; Der Komponist Ariadne auf Naxos; title role of La Cenerentola; Hänsel Hänsel und Gretel; Charlotte Werther; and Adalgisa Norma.
On the concert stage, she has performed works such as Berg’s Sieben frühe Lieder with the Tiroler Symphonie Orchester, and Chausson’s Poème de l’amour et de la mer Op.19 and Ravel’s Shéhérazade with the NDR Sinfonieorchester under Yal Pascal Tortilier.
Brower's discography includes the hugely acclaimed Deutsche Grammophon recordings of Mozart’s Così fan tutte and Le Nozze di Figaro, both conducted by Yannick Nézet-Séguin.
Brower was raised in Arizona and studied at Arizona State University and Indiana University. Her career started at the Glimmerglass Opera Young American Artists Program in 2008. She was then invited to join the Opera Studio at the Bayerische Staatsoper in Munich, where she later became a member of the Ensemble from 2010-2016. Her portrayal of Dorabella in Così fan tutte earned her particular attention on the main stage of the National Theater, which led to her receiving the prestigious Munich Festival Prize in 2009.
The New York Times, March 2018
“Angela Brower sang Octavian with plush, full sound, yet also youthful brightness and ﬂashes of cocky energy.”
“Angela Brower as the Prince from Orlofski had a melting mezzo-soprano and perfect intonation. Her “Ich lade mir gerne Gäste ein” was gorgeously sung. One longed to hear more from her.”
“…so well was she sung by Angela Brower – with ardently glowing tone and verbal relish that made her “Musik ist ein heilige Kunst” a moving and believable manifesto – that she seemed to have earned the right to do whatever she liked.”