Recognized as a “spirited actress” with a “rounded and lyrical voice, well under her control” by Platea Magazine, soprano Emily Rosenberg captivates audiences around the world and “could be part of the program at any established international theater.”
Many have noted Emily’s impassioned desire for opera; she describes it as her raison d’être, dedicating her life to the craft. For Emily, opera is the ultimate medium through which emotional communication takes place: a transformative experience for singer and audience alike.
This season, Emily makes her much-anticipated role debut as Gilda in Verdi’s Rigoletto with Jerusalem Lyric Opera. This season also includes a return to Pacific Opera Project for their “super” take on The Magic Flute, singing First Spirit while covering Pamina, as well as an appearance as Lieschen in Korngold's Der Ring des Polykrates with Numi Opera. Emily was awarded First Place in the Dominant Music Club's 2020 Vocal Competition, Second Place in the 2019 Jerusalem International Opera Competition, and as a finalist will perform in the Redlands Bowl Grand Finals Concert with the Hollywood Chamber Orchestra.
In her 2017-2018 season, Emily appeared in the title role of The Cunning Little Vixen with Opera Steamboat, formerly known as Emerald City Opera, and made her Chicago debut singing the role of the Narrator in the world premiere of For Those in Peril, a new opera by Francis L. Lynch. She also joined Pacific Opera Project to cover Zerlina in Don Giovanni and perform Annina in La traviata. Emily was a Loren L. Zachary National Vocal Competition semifinalist and a recipient of the Encouragement Award from the Metropolitan Opera National Council Auditions, Arizona District.
During the 2016-17 season, audiences enjoyed Emily’s portrayals of Susanna and Barbarina in multiple productions of Le nozze di Figaro in engagements with the Prague Summer Nights Festival and the Savannah Voice Festival, with performances in Georgia, Prague, and at the Mozarteum in Salzburg. Confident with complexity, she accomplished the task of singing both Susanna and Barbarina for Celestial Opera Company, performing both roles in separate casts during the same production run. She was also seen this season in a production of Gluck’s Orfeo ed Euridice as Amore.
Emily first performed with the Prague Summer Nights Festival as part of her 2015-16 season, where she portrayed Suor Genovieffa in Suor Angelica and covered the role of Lauretta in Gianni Schicchi. She also appeared in scenes with the Festival as Papagena in Die Zauberflöte and Nannetta in Falstaff. In competition, Emily won Second Place in both the 2016 Center Stage Opera Vocal Competition and the Southern California Philharmonic Concerto Competition. She continues to sing with the Tanglewood Festival Chorus in coordination with the Boston Symphony Orchestra and the Berklee Silent Film Orchestra, for which she is a recurring featured soloist.
A flexible artist with the ability to perform in diverse productions, Emily made her Boston Symphony Hall debut in 2015 as soloist in the Boston performance of the Distant Worlds: music from FINAL FANTASY world tour, produced by AWR Music Productions. While enjoying the facility to sing in multiple styles, it is Emily’s classical singing that remains her sole focus.
Emily holds degrees in Vocal Performance and Professional Music with a focus in Songwriting from Berklee College of Music, where she also helped to launch Berklee’s first opera program. There she sang leading roles including Laetitia in The Old Maid and the Thief and Mabel in The Pirates of Penzance, in addition to directing and producing for the program.
A native of Chicago, Emily currently resides in Los Angeles, where her classical sound is sought after for commercial and film score recordings in addition to opera and concert producing organizations.
Le nozze di Figaro
MOZARTEUM, SALZBURG | JULY 2017
“Amongst the soloists that we listened to, we should mention the splendid Susanna from Le nozze di Figaro recreated by the American, Emily Rosenberg, a spirited actress on stage and a soprano who owns a rounded and lyrical voice, well under her control... [she] could be part of the program at any established international theater and confirm[s] the good work that this program is offering to young interpreters.”
by Alejandro Martinez