Performing in such major venues as Carnegie Hall, Jordan Hall, Disney Hall, Prague’s Smetana Hall, and Vienna’s Stefansdom, American contralto Emily Marvosh has been gaining praise for her “flexible technique and ripe color,” “sterling voice,” and “tone that [has] the velvety soulfulness of a cello”. Her 2017-18 season currently includes two appearances as soloist in Handel’s Messiah: at the National Cathedral in Washington, DC and in a return to the Rhode Island Philharmonic Orchestra. She also sings as soloist in Beethoven’s Missa Solemnis with Boston’s Cantata Singers.

In 2016-17 Ms. Marvosh made her debut with the Phoenix Symphony in Mozart’s Requiem; performed Handel’s Messiah with both American Bach Soloists and the Calvin Oratorio Society; Bach’s St. Matthew’s Passion with the Colorado Bach Ensemble; and Elgar’s Sea Pictures with the Orchestra of Indian Hill. Other recent engagements include Beethoven’s Symphony No. 9, Handel’s Messiah, and Bach’s St. John Passion with the Handel and Haydn Society; John Corigliano’s Three Irish Folk Tunes with the Worcester Chamber Music Society; Stravinsky’s Les Noces with Chorus Pro Musica; Mahler’s Symphony No. 3 with the Tucson Symphony Orchestra; Third Lady in Mozart’s Die Zauberflöte with Boston Baroque; and Messiah with Music Worcester and the Rhode Island Philharmonic Orchestra.

Following her solo debut at Boston’s Symphony Hall, she has been a frequent soloist with the Handel and Haydn Society under the direction of Harry Christophers. Other solo appearances include Messiah with Charlotte Symphony, Beethoven’s Symphony No. 9 with Music Worcester, Vivaldi’s Nisi Dominus with L’academie, Bach’s Magnificat with Back Bay Chorale, Elgar’s Sea Pictures with the Brookline Symphony, Dvoƙák’s Stabat Mater with the Chorus of Westerly, Vivaldi’s Salve Regina with the White Mountain Bach Festival, La Grande Duchesse de Gérolstein with Opera Boston, and Rusalka with Boston Lyric Opera. Past ensemble appearances include the Oregon Bach Festival under the direction of Helmut Rilling, the Bachakademie Stuttgart, Portland Baroque Orchestra, Tucson Chamber Artists, Boston Camerata, the Skylark Chamber Ensemble, the Yale Choral Artists, and Cambridge Concentus.

A regular member of the renowned vocal ensemble, Seraphic Fire, Miss Marvosh can be heard on their recent GRAMMY-nominated recording of Brahms’s Ein Deutsches Requiem. Personal awards include the prestigious Adams Fellowship at the Carmel Bach Festival, the American Prize in the Oratorio and Art Song divisions, and second place in the New England Regional NATSAA competition.

Her contributions to 21st-century repertoire and performance include world premieres with Juventas New Music and Intermezzo Chamber Opera. Marvosh created the roles of Viviane and the Mother in the world premiere of Hugo Kauder’s Merlin with the Hugo Kauder Society. She is a founding member of the Lorelei Ensemble, which promotes new music for women.
A frequent recitalist and proud native of Michigan, Emily Marvosh created a chamber recital, celebrating the history and culture of her home state, which won a St. Botolph Club Foundation Emerging Artist Award. She continues to perform the evening in venues across the country. She holds degrees from Central Michigan University and Boston University.


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