Audrey Luna
Soprano

“she makes this stratospheric singing sound effortless, tiny high notes exploding like puffs of glitter.” (Fiona Maddocks, Guardian, May 2017)

Contacts

Shirley Thomson +44 (0)20 3725 9173
Georgina Wheatley +44 (0)20 3725 9185

Biography

Boasting a wide repertoire of classical and contemporary roles, Audrey Luna has built her reputation on a combination of unique vocal and dramatic strengths. 

Luna found unanimous international praise for her dazzling portrayal of Ariel in Thomas Adès’ The Tempest at the Metropolitan Opera, immortalised on DVD by Deutsche Grammophon and subsequently honoured with the Grammy Award for “Best Opera Recording” in 2013. Thomas Adès’s Ariel also heralded Luna’s debut at Wiener Staatsoper, and her creation of the character of Leticia in his most recent opera, The Exterminating Angel, marked her first appearance at both Salzburger Festspiele and the Royal Opera House, Covent Garden, all conducted by the composer himself. Recent career highpoints include Ligeti’s Le Grand Macabre with both the London Symphony Orchestra and Berliner Philharmoniker under Sir Simon Rattle, a debut at Houston Grand Opera as Madame Mao (Nixon in China), and her collaboration with Peter Eötvös on his latest work, The Sirens Cycle, performed in Zürich, Paris, Madrid, Frankfurt, and recorded for CD release by BMC Records. 

Boasting a wide repertoire of classical and contemporary roles, Audrey Luna has built her reputation on a combination of unique vocal and dramatic strengths. 

Luna found unanimous international praise for her dazzling portrayal of Ariel in Thomas Adès’ The Tempest at the Metropolitan Opera, immortalised on DVD by Deutsche Grammophon and subsequently honoured with the Grammy Award for “Best Opera Recording” in 2013. Thomas Adès’s Ariel also heralded Luna’s debut at Wiener Staatsoper, and her creation of the character of Leticia in his most recent opera, The Exterminating Angel, marked her first appearance at both Salzburger Festspiele and the Royal Opera House, Covent Garden, all conducted by the composer himself. Recent career highpoints include Ligeti’s Le Grand Macabre with both the London Symphony Orchestra and Berliner Philharmoniker under Sir Simon Rattle, a debut at Houston Grand Opera as Madame Mao (Nixon in China), and her collaboration with Peter Eötvös on his latest work, The Sirens Cycle, performed in Zürich, Paris, Madrid, Frankfurt, and recorded for CD release by BMC Records. 

The current season includes a reprise of The Exterminating Angel at the Metropolitan Opera and her return to the role of Marie in La fille du régiment for Hawaii Opera Theatre.

Download Bio
uk

Video

 
 

Audio

Contacts

Shirley Thomson +44 (0)20 3725 9173
Georgina Wheatley +44 (0)20 3725 9185

Reviews

“Only the coloratura soprano Audrey Luna as the “opera singer” Lucia showed no signs of strain. She sang Ariel in Adès’s The Tempest and makes this stratospheric singing sound effortless, tiny high notes exploding like puffs of glitter.” (Fiona Maddocks, Guardian, May 2017)

“with virtuoso American soprano Audrey Luna glittering up in her other-worldly stratosphere.” (Independent, APril 2017)

“Audrey Luna sings at dog-whistle pitch in a deliciously catty portrayal of Leticia, the opera singer who may unknowingly hold the key to the whole mystery.” (Guardian, April 2017)

 

“Only the coloratura soprano Audrey Luna as the “opera singer” Lucia showed no signs of strain. She sang Ariel in Adès’s The Tempest and makes this stratospheric singing sound effortless, tiny high notes exploding like puffs of glitter.” (Fiona Maddocks, Guardian, May 2017)

“with virtuoso American soprano Audrey Luna glittering up in her other-worldly stratosphere.” (Independent, APril 2017)

“Audrey Luna sings at dog-whistle pitch in a deliciously catty portrayal of Leticia, the opera singer who may unknowingly hold the key to the whole mystery.” (Guardian, April 2017)

“Audrey Luna’s hilariously stratospheric coloratura makes Mozart’s Queen of the Night sound like child’s play.” (Evening Standard, April 2017)

“Audrey Luna’s extraordinary facility in her top register helps make opera singer Leticia extraordinarily memorable.” (The Stage, April 2017)

“In the role of Jiang Qing (Madame Mao), Audrey Luna radiated menace and set off soprano fireworks.” (Dallas News, February 2017)

“A fine cast, also notable for contributions from Audrey Luna as the high soprano police chief.” (Rupert Christiansen, Telegraph, January 2017) 

“Sellars’ one good substitution is to transform the exotic-bird Chief of Police into a dying radiation victim; the brilliant coloratura Audrey Luna goes to the edge with the horror.” (Arts Desk, January 2017)

“Audrey Luna’s crazed Gepopo soared easily into Ligeti’s musical stratosphere” (Independent, January 2017) 

“Audrey Luna’s coloratura proved properly show-stopping.” (Seen & Heard, January 2017)

"The soprano Audrey Luna brilliantly negotiated Gepopo’s coloratura from a hospital bed as the character succumbs to radiation sickness.” (Classical Source, January 2017)

“The most distinct voice is Audrey Luna’s superhuman Leticia” (The Times, Neil Fisher, August 2016)

“Audrey Luna as Leticia, who sang her fiendish high coloratura dazzlingly.” (Guardian, Fiona Maddocks, August 2016)

“He gives almost every character a moment of revelation. Leticia, a famous prima donna fresh from the “Lucia” performance, was here the high-colouratura soprano Audrey Luna. Mr Adès takes Ms Luna to stratospheric vocal lines…And Ms Luna’s uncanny agility captures Leticia’s larger-than-life quality.” (New York Times, August 2016)

“The singers were more than fine; stand outs included Audrey Luna (Letitia) with her extremely high coloratura soprano” (Frankfurter Rundschau, August 2016)

“the magnificent Audrey Luna as Leticia” (Neue Zürcher Zeitung, August 2016)

“Audrey Luna particularly impressed in the role of the opera diva” (Opernnetz, August 2016)

“The most outstanding vocal performance, dealing with stratospheric range and extremely fast, radically jagged intervals, came from Audrey Luna as Leticia.” (Oe24, August 2016)

“Audrey Luna’s cocksure Ariel is undaunted by the staging and vocal demands, emitting freakish whistle register tones to create a surreally-asexual airborne spirit…one who transpired to become the evening’s darling.” (Opera Critic, June 2015)

“Audrey Luna overcomes dizzying stratospheric coloratura cascades with phenomenal bravery and moves also with acrobatic ease.” (Kleine Zeitung, June 2015)

“Audrey Luna trills in the highest soprano stratosphere as Ariel, she fills her performance with stunning attack as well as lyrical phrasing.” (Die Presse, June 2015)

“Audrey Luna as Ariel is the star of the evening; cutting a fine figure with stylised gestures and delicately eccentric contours, she masters the incredibly high vocal writing masterfully.” (Der Standard, June 2015)

“Audrey Luna was the only artist in this performance who had already sung in the productions in Quebec and New York and undoubtedly has the most demanding role in the work. Her coloratura sounds out of this world…the entire audience was enchanted by her physical and vocal acrobatics.” (ORF, June 2015)

“Ariel is sung by the fantastic Audrey Luna who endless praise by the audience. She switches wonderfully between rogue-like, monstrous ferocity and delicate sentience” (Stol.it, June 2015)

“Audrey Luna was an extraordinary Olympia, all pink satin and pink hair and stratospheric high notes with silvery technical mastery.” (Bachtrack, March 2015)

“The brilliant coloratura soprano Audrey Luna is sensational as Olympia, deftly dispatching passagework and tossing off jet-propulsion high notes.” (New York Times, March 2015)

"The soprano Audrey Luna admirably tosses off the run of high notes in 'Les oiseaux dans la charmille' as the wind-up doll Olympia.” (The Huffington Post, March 2015)

“her performance of the Doll Song 'Les oiseaux dans la charmille' was nothing short of breathtaking. She showed astounding control of her high register, interpolating several high As and B flats, and hit just the right balance between dominatrix and blow up doll this production dictates.” (Bachtrack.com, October 2014)

“In terms of visceral impact, Audrey Luna’s Chiang Ch’ing (Madame Mao) is the vocal performance of the evening.  She negotiates Adams’ at times cruelly vaulting intervals with insouciance, pings her high notes fearlessly, and generally creates an appropriately unsettling impression of barely trammelled sadism and psychosis.” (Terry Blain, Bachtrack, May 2014)

“Audrey Luna stood out.as the coquettish Fiakermilli. The coloratura soprano dazzled a few years ago when she inaugurated the role of Ariel in the Met premiere of The Tempest. Luna still impressed with her easy effervescence.” (Eric C. Simpson, New York Classical Review, April 2014)

“The other standout was Audrey Luna as Zerbinetta; the coloratura was impressive… and she truly made a meal of her role.” (Robert Battey, The Washington Post, February 2014)

“The soprano part of Ariel, brilliantly sung by Audrey Luna at the Met, is a coloratura tightrope walk so daunting it makes Mozart’s Queen of the Night aria seem like child’s play.” (Vivien Schweitzer, The New York Times, January 2014)

“Audrey Luna brought innocence and flute-like clarity to the amorous sighs of the soprano solos in ‘The Court of Love.” (Charles T. Downey, The Washington Post, June 2013)

“The role of the spirit Ariel is written for a coloratura soprano singing in a stratospheric range, here the physically and vocally agile Audrey Luna….with her radiant voice flitting about in super-high fidgety bursts….Mr. Adès’s Ariel is a dazzling creation, and Ms. Luna conquers the role.” (Anthony Tommasini, The New York Times, October 2012)

“Lithe and fearless, Audrey Luna made the impossible flights of Ariel seem like coloratura bagatelles.” (Martin Bernheimer, Financial Times, October 2012)

Discography

Buy