Hailed by the New York Times for her “clear, pealing voice” (Scarlatti’s L’Arianna-The Arianna Project, Musica Nuova) and by Opera News for her “best all-around performance” (Handel’s Ariodante - The Princeton Festival) classical soprano Marcy Richardson is a versatile artist with a passion for baroque, contemporary music, cabaret, pole and aerial dance, and burlesque.
She most recently performed with Company XIV as a singing aerialist, pole dancer, and classical vocalist in the critically acclaimed Nutcracker Rouge at Theatre XIV in Brooklyn.. Other recent performances include the role of Emilie in a concert version of Rameau’s Les Indes Galantes with American Classical Orchestra, the role of “The Diva” in a workshop of a new work in progress, Heroes, with Spiegelworld at St. Anne’s Warehouse, Opera Burlesque and Hot Jazz shows with Hot Box Girls International, Semmelweis, a new composition by Ray Lustig being produced at the National Arts Club, and the Venetian Masked Ball at Grand Prospect Hall with Company XIV in collaboration with Carnegie Hall and Dances of Vice. Upcoming productions include the role of Amour in Gluck’s Orphee with Opera Columbus and Toronto’s Against the Grain Theater. Between productions, she is also an active volunteer with Sing For Hope.
Originally from Grosse Pointe, MI and a graduate of the Indiana University Jacobs School of Music, Ms. Richardson’s other credits include solo appearances at Carnegie Hall singing Mozart and Kurt Weill to benefit Best Buddies NY, her Lincoln Center debut at Alice Tully and Avery Fisher Hall as the soprano soloist in the Faure Requiem and Mozart Vesparae solennes de Confessore with MidAmerica Productions, ensemble and soloist in Handel’s Samson with American Classical Orchestra under Nicholas McGegan at Lincoln Center’s Alice Tully Hall, Snow White, Nutcracker Rouge, and Cinderella with Company XIV at the Minetta Lane Theater, Marta in Caldara’s Maddalena with American Classical Orchestra, Poppea in Handel’s Agrippina with Operamission, Diana and Giove as Diana (La Calisto) with Vertical Player Repertory, Dalinda (Ariodante) with the Princeton Festival, Monica (The Medium) with St. Petersburg Opera, Kurt Weill’s Berlin to Broadway with Opera Columbus, From Paris to Berlin to New York with Toledo Opera, Mabel (The Pirates of Penzance), Susanna (Le Nozze di Figaro), and Mrs. Hayes (Susannah) with Orlando Opera, Barbarina (Le Nozze di Figaro) and Adina (L’Elisir d’Amore) with Baltimore Opera, Emmaline (Purcell’s King Arthur) with the Bloomington Early Music Festival, Papagena (Die Zauberflöte) with Opera Vivente, and Fiorilla (Il Turco in Italia), Lucy (The Telephone), and Poussette (Manon) at Indiana University.
A champion of new music, she created the roles of Fiordiligi in the premiere of Jonathan Dawe’s Cosi Fan Tutti at Columbia University’s Italian Academy, Ani King George in the premiere of The Enchanted Organ, a burlesque opera by Gordon Beeferman and Charlotte Jackson, So Yeon in John Eaton’s microtonal opera, Re-Routed, with the Pocket Opera Players at Symphony Space, the title role in a staged reading of Louis Karchin’s Jane Eyre with Center for Contemporary Opera, and Maria in The Bonfire of the Vanities by Stefania de Kenessey and Michael Bergmann. Ms. Richardson has also been a featured performer with the Curiosity Cabinet, New York Festival of Song (NYFOS Next,) American Composer’s Alliance Summer Festival, The Jessold Consort, OPERAtion Brooklyn with Opera on Tap and American Opera Projects, VocalEssence under Philip Brunelle, Mimesis Ensemble, Aguava New Music Ensemble at the Tribeca Performing Arts Center, Orlando Philharmonic, and the Lucerne Festival in Switzerland as a member of the Contemporary Music Festival Academy under Pierre Boulez.
Ms. Richardson has won various awards and grants from the Kurt Weill Foundation, Gerda Lissner Foundation, Heinz Rehfuss Singing Actor Awards, Metropolitan Opera National Council, Fritz and Lavinia Jensen Foundation, Heida Hermanns International Voice Competition, and Opera Birmingham’s Cassell Stewart Vocal Competition.
No stranger to musical theater, Ms. Richardson got her start in dance and theater at an early age and is comfortable with crossover and belting. She originated the role of the “Ghost of Christmas Past” in the new musical Scrooge No More at the Globe Theater at Busch Gardens Williamsburg under choreographer and director Lisa Shriver. Other recent theater endeavors include the 1940’s burlesque musical comedy revue Knockers: A Burlesque Musical off Broadway at the Elektra Theater with the Hot Box Girls, ensemble in Sweeney Todd in the Piper Theater’s Summer Festival at the Old Stone Playhouse in Brooklyn, and two one-woman cabarets at West Michigan Symphony’s “The Block.” She has also appeared as Rosie (Cabaret), Lili Vanessi (Kiss Me Kate), Cinderella (Into the Woods), Dream Laurey (Oklahoma!), Tribe Member (Hair), Leonide (Triumph of Love), Angel City 4 (City of Angels), and featured dancer/ensemble in On the Town, Will Rogers Follies, and Once on this Island, to name a few.