Performance Year: 2022
American contralto Emily Marvosh has been gaining recognition for her “plum-wine voice” and “graceful allure” on the stages of Carnegie Hall, Jordan Hall, Disney Hall, Lincoln Center, Prague’s Smetana Hall and Vienna’s Stefansdom. Following her solo debut at Boston Symphony Hall in 2011, she has been a frequent soloist with the Handel and Haydn Society under the direction of Harry Christophers. Other recent solo appearances include the American Bach Soloists, Washington National Cathedral, and Charlotte Symphony (Messiah), Tucson Symphony Orchestra (Mahler’s Third Symphony), Chorus Pro Musica (Stravinsky’s Les Noces), Landmarks Orchestra (Beethoven’s Ninth Symphony), L’academie (Vivaldi’s Nisi Dominus), Back Bay Chorale (Bach Magnificat), the Brookline Symphony (Elgar’s Sea Pictures), the Boston Early Music Festival Fringe, Cantata Singers (Beethoven’s Missa Solemnis) and the Chorus of Westerly (Dvořák Stabat Mater and Bach Mass in B Minor). Awards include the prestigious Adams Fellowship at the Carmel Bach Festival, the American Prize in the Oratorio and Art Song divisions, and second place in the New England Regional NATSAA competition.
Her contributions to 21st-century repertoire and performance include world-premiere performances with Juventas New Music and the Manchester Summer Chamber Music Festival, and in 2013, she created the roles of Viviane and the Mother in the world premiere of Hugo Kauder’s Merlin with the Hugo Kauder Society. She is a founding member of the Lorelei Ensemble, which promotes innovative new music for women. With Lorelei, she has enjoyed collaborations with composer David Lang, the Boston Modern Orchestra Project, A Far Cry, Duke Performances and the Boston Symphony Orchestra. Of a recent Lorelei performance, one critic wrote, “Marvosh, whose stage presence was a joy to behold, offered a tone that had the velvety soulfulness of a cello … and lent a refreshing pious solemnity to this more joyful of Mass texts.”
Emily Marvosh can be heard on two recent Grammy-nominated recordings: Brahms’s Ein Deutsches Requiem with Seraphic Fire, and Prayers and Remembrances with True Concord Voices and Orchestra. She belongs to Beyond Artists, a coalition of artists that donates a percentage of their concert fees to organizations they care about. She supports the Gabriela Lena Frank Creative Academy of Music and Rosie’s Place through her performances. She holds degrees from Central Michigan University and Boston University.
