Amanda Batista

In the 2024-25 season, Puerto-Rican Cuban-American soprano Amanda Batista will debut at The Atlanta Opera as Mimì in La bohème with a creative team that includes director Tomer Zvulun, conductor James Lowe, and designer Vita Tzykun. She returns to the Metropolitan Opera to sing High Priestess in Michael Mayer’s new production of Aida led by Music Director Yannick Nézet-Séguin and cover the role of Berta in the return of Bartlett Sher’s production of Il Barbiere di Siviglia with conductor Giacomo Sagripanti in the pit. Mid-season, Ms. Batista will perform a recital at the Walter S. Gubelmann Auditorium as part of The Society of the Four Arts concert series in Palm Beach, Florida.

Last season, the lirico-spinto soprano made her role and house debut as Mimì in the revival of John Caird’s production of La bohème at Wolf Trap Opera with Grant Gershon leading the National Symphony Orchestra in the Filene Center to a capacity crowd of over seven-thousand. While at the company she also performed ¡Te Adoro!, a concert of love songs from Spain and Latin America, with Steven Blier at the piano. Ms. Batista made two role debuts at the Metropolitan Opera: First Lady in Julie Taymor’s production of The Magic Flute and Bianca in Nicolas Joël’s production of La Rondine led by Speranza Scappucci, the latter of which was broadcast around the globe in cinemas via The Met: Live in HD series. Further highlights of the season included a concert with Academie de l'Opera National de Paris performing music of Puccini and Rossini at the Amphithéâtre Olivier Messiaen in the Opéra Bastille; soprano soloist in Dvořák’s Te Deum with Colorado’s Grand Junction Symphony Orchestra under the baton of Music Director Charles Latshaw in a concert that also included orchestral songs “Morgen” and “Cäcilie” by Richard Strauss; an evening with Ars Musica Chorale singing works of Mozart and Puccini; performing at the 78th Annual Cardinal's Christmas Luncheon that raised almost $1.4 million to support Catholic Charities New York's programs and services for women and children; a recital at Bruno Walter Auditorium in New York City that featured a song cycle by Ben Moore entitled So Free Am I which highlights seven settings of poems by women; as well as a performance of arias and a duet for Madison Avenue Business District in partnership with the Metropolitan Opera in New York. 

Ms. Batista made her Metropolitan Opera debut in the 2022-23 season singing High Priestess in Aida under the baton of Paolo Carignani in the farewell performances of Sonja Frisell’s monumental production that had seen over 240 performances at the company and she covered the role of Clotilde in Norma under the baton of Maurizio Benini. Additional appearances that season included singing the role of Elettra in Idomeneo at the Aspen Music Festival with Matthew Polenzani in the title role and featuring Seraphic Fire on chorus duty under the direction of Francesca Zambello with Robert Spano on the podium; artist in residency with the Académie du Festival d’Aix-en-Provence in France where she sang concert featuring music of Meyerbeer, Mozart, Adamo, and Miguel Matamoros on the Cours Mirabeau with the Balthasar Neumann Orchestra with Thomas Hengelbrock on conducting duties; joined the prestigious Merola Opera Program where she sang Florencia Grimaldi in Daniel Catán’s Florencia en el Amazonas; Salud in de Falla’s La Vida Breve on the Schwabacher Summer Concert; and appeared as a featured soloist on the Merola Grand Finale concert where she sang the act one duet from Madama Butterfly on stage at the San Francisco Opera.

In the 2021-22 season, Ms. Batitsta made her Juilliard Opera debut as Frau Fluth in Nicolai’s comic opera Die lustigen Weiber von Windsor at the Peter Jay Sharp Theater where she was praised for her “vibrant, wide-ranging career voice” (Opera News); made her Alice Tully Hall debut as part of the Juilliard Songfest in collaboration with pianist Brian Zeger; and was a featured soloist on a program honoring the 2022 OPERA America Hall of Fame Inductees at the University Club in New York.

Previous engagements include singing the Countess Almaviva in Le nozze di Figaro at the Chautauqua Opera; appearing as a featured soloist in Lincoln Center’s Restart Stages outdoor recital series at The Club at Hearst Plaza; and participating as a studio artist with the Pittsburgh Festival Opera and International Summer Opera Festival of Morelia in various opera scenes. Beginning her singing career as a mezzo-soprano, she performed several roles with Opera Theater Rutgers including Nicklausse (Les contes d'Hoffmann), Florence Pike (Albert Herring), and Marcellina (Le Nozze di Figaro). Her additional concert repertoire includes Bruckner’s Te Deum; Brahms’s Op. 64 Quartets; Bach’s Magnificat; and Jacquet de La Guerre’s Semelé. 

Ms. Batista was the Second Place winner in the 2022 Eleanor McCollum Competition at the Houston Grand Opera. She has also participated in the Giulio Gari Competition, Opera at Florham Competition, Paris Opera Competition, GJSO Vocal Competition, Rochester International Voice Competition, and Met Opera Laffont Competition, which led to prizes and other accolades. Ms. Batista has worked with conductors Gareth Morrell, Jorge Parodi, Christian Reif, Mark Shapiro, and Kynan Johns, as well as stage directors Katherine M. Carter, Paula Suozzi, Sarah Ina Meyers, Eric Sean Fogel, Mary Birnbaum, and John Matsumoto Giampietro. She has had masterclasses with industry professionals Marin Alsop, Sondra Radvanovsky, Renée Fleming, Denyce Graves, Donald Palumbo, and Marco Armiliato. A native of New Jersey, Ms. Batista holds degrees in music from the Mason Gross School of the Arts at Rutgers University and the Juilliard School where she was a proud recipient of the Kovner Fellowship. She is currently a member of the Lindemann Young Artist Development Program at the Metropolitan Opera.

Contact

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