Deepa Johnny
Shirley Thomson
Zoe Band
Peppie Johnson
Omani-born Deepa Johnny, a graduate of the Young Artist Programme at Los Angeles Opera, has already left a lasting impression in the opening seasons of her professional career. She has distinguished herself with critically acclaimed performances, including her role debut as Penelope in Monteverdi’s Il ritorno d’Ulisse in Patria under Leonardo García Alarcón in a new staging by Pierre Audi at the 2024 Festival d’Aix-en-Provence, where she was described as “deeply moving and totally convincing” and her powerful portrayal of Carmen in Romain Gilbert’s production for Opéra de Rouen Normandie, conducted by Music Director Ben Glassberg, in which she was hailed as “a revelation”.
Johnny has further solidified her reputation as an exceptional new talent on the international stage through performances as Cherubino in Le Nozze di Figaro, both at Portland Opera and Opera San Jose, and her appearances at Manchester International Festival, Festival d’Aix-en-Provence, Bregenzer Festspiele and at London’s Southbank Centre as part of the inaugural cast of The Faggots and Their Friends Between Revolutions, an inspirational ensemble piece created by Ted Huffman and Philip Venables from the seminal LGBTQ+ rights text by Larry Mitchell.
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The 2024/25 season for Deepa Johnny includes several further debuts including concerts with Los Angeles Philharmonic under Gustavo Dudamel in Mendelssohn’s A Midsummer Night’s Dream at Disney Hall and Carnegie Hall, Rosina in Il barbiere di Siviglia under Diego Ceretta at Opéra de Lille, Dorabella in Così fan tutte under Duncan Ward at Opéra National de Lyon and as Angelina in Rossini’s Cinderella at Houston Grand Opera. In Romain Gilbert’s acclaimed production from Opéra de Rouen Normandie, she will also reprise her highly acclaimed Carmen at the Hong Kong Festival.
In the concert hall, Deepa Johnny has performed Mozart’s Mass in C minor with Orchestre Philharmonique de Radio France conducted by Leonardo García Alarcón, Handel’s Messiah with Winnipeg Symphony Orchestra and Mathieu Lussier and she joined West Virginia Symphony Orchestra as part of their Sounds of the Seasons concerts, guest conducted by Luke Frazier from American Pops Orchestra. At New York’s Carnegie Hall, Deepa performed as part of Renée Fleming’s SongStudio Masterclass, she was a fellow of the renowned Ravinia Steans Vocal Institute presenting art song repertoire, and she presented a solo song recital together with pianist Alphonse Cémin as part of the 2024 Festival d’Aix-en-Provence.
Deepa Johnny joined LA Opera’s prestigious Domingo-Colburn Stein’s Young Artist Program for two seasons from 2022 – 2024, making her debut there to considerable acclaim in the role of Owen’s daughter in Omar, a world-premiere by Rhiannon Giddens and Michael Abels going on to sing roles in Der Zwerg, La traviata and as Mélisande in Impressions de Pelléas, all with Music Director James Conlon. Performing experience while still at Indiana University, includes Meg Page in Falstaff at Aspen Music Festival, conducted by Patrick Summers and alongside Bryn Terfel in the title role, Suzuki in concert version of Madama Butterfly with Indianapolis Symphony Orchestra under conductor Jun Märkl, Carmen in Arden Opera’s production of The Tragedy of Carmen, and at IU Opera Theatre, Rosina in Il barbiere di Sivilgia and the title role of Handel’s Xerxes and Monteverdi’s L’incoronazione di Poppea.
Gaining early recognition in major competitions, Deepa Johnny won the Andre Bourbeau Best Canadian Artist award and the ICI Musique People’s Choice award at the 2022 Concours Musical International de Montreal competition and was the winner of the Western Canada District of the 2020 Metropolitan Opera National Council Auditions.
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“The elegant Deepa Johnny (Penelope) brought gorgeous, rich tone and expressive words and features.”
“Deepa Johnny, the Omani mezzo-soprano, embodies Penelope with a dignity that suggests Ulysses is in her very soul. Her long, bittersweet notes convey a restrained fury, both in her straight-tone singing and narration. Occasionally, she steps away from her regal demeanor, her queenly, statue-like presence, to share a few intimate confessions from the edge of her lips. She weaves her singing like a loom, alternating between velvet and coarse fabric, using lingering vowels that leave traces like venom.”
“From the outset, Deepa Johnny presents a Penelope that is deeply moving and totally convincing.”
“Mezzo Deepa Johnny appears as the very incarnation of Penelope, draped in an elegant bronze costume. She is as comfortable in this role as she was in her Carmen which brought her to attention not long ago. Her presence on stage gives off an aura that her warm, coppery voice asserts with ease. From her first scene, she fascinates the audience with the aria: “I am a mortal thing” which she sings detached and worried. Each of her appearances on stage creates a presence comparable to that of the famous tragedienne Irène Papas. Her final duet with Ulysses finally sees her lay down her arms and devote herself completely to the return of happiness, in heady melismas.”
“The formidable and sensual Carmen by Deepa Johnny, a young Canadian mezzo-soprano of Omani origin, caused a sensation on Friday at the premiere”
“Deepa Johnny’s stage presence is admirable; the overflowing sensuality, the wide vocal range with an easy top and well-rounded bottom, as well as her rich timbre”
“Deepa Johnny is a revelation. It’s hard to believe she is not French-speaking as the French is crystal clear. The colour of the voice is superb, with a powerful low register and controlled top notes. She takes to the stage with fervour and confidence.”
“Deepa Johnny is Carmen. The Canadian artist has an ease on stage … the warm colour of her voice is ideally suited to the role and her French diction is worthy of any native-French Carmen …. in the séguedille, Deepa Johnny reveals a meticulous line, perfectly held high notes and scrupulously controlled breath”
“The young Omani-born Canadian offers an undeniable stage presence. Demonstrating virtuosity, a wide dynamic range and an expressive timbre, her voice can be sinuous, seductive and scathing like a slap. The audience gives her Carmen a standing ovation.”
“Deepa Johnny’s tone is velvet when she’s singing [..]. The vocal line is generous and dense, soft with a small natural vibrato, […] while the breath flows from the bottom of the lungs to the top of the larynx, legato and supported.”
“ ‘Venables’ score is at its most patient showcasing the vocal beauty of Deepa Johnny”
“Mezzo-soprano Deepa Johnny was a mesmerizing figure as the sex-addled teenager Cherubino, matching her buoyant singing with a stage demeanor that spoke eloquently of hormonal confusion.”
“This exceptionally strong ensemble had one other delicious standout in Deepa Johnny who is a new member of our young artist program. Her showcase aria in the second act compares Omar’s writing on the walls of his jail cell to birds flying through the sky. She brought a lovely, bright, flutey mezzo soprano to the piece and her youthful joy was credible and sweet.”
“Deepa Johnny excelled in her role debut as the page Cherubino both in the ease of delivery of her delicate instrument and in her complete transformation for the trouser role. She had a great comic timing as well, and the audience loved her cross-dressing antics!”
“The alluring, rich-voiced mezzo-soprano Deepa Johnny introduced me and I suspect others, to the songs of Alberto Hemsi…Her performance of three of his songs revealed a deep connection to this colourful, exotic music which she performed with such flare.”
“Mezzo Deepa Johnny makes the arc of Carmen’s story her energy, her lovers and her final death at the hands of Don Jose a compelling tale.”
