Vocalist - Mezzo-Soprano
Biography

Praised for her “crème caramel tones” and “warm and ingratiating mezzo” (Albuquerque Journal), Ann McMahon Quintero’s 2013-14 season includes her debut with Virginia Opera as Mistress Quickly in Verdi’s Falstaff, soloist in Beethoven’s Symphony No. 9 in a return to Boston Baroque, and in Verdi’s Requiem with the Defiant Requiem Foundation at Strathmore, under Murry Sidlin. In summer 2013 she was mezzo soloist in Britten’s “Spring Symphony” and Vivaldi’s Gloria in a return to the Berkshire Choral Festival. Her engagements for the 2014-15 season currently include Ulrica in Verdi’s Un ballo in maschera with Austin Lyric Opera.

In the 2012-13 season she made her debut with the Spoleto Festival (USA) as Suor Pazienza in Giordano’s Mese Mariano, sang Mary in Der fliegende Holländer in a return to Boston Lyric Opera, Amneris in Aida with Annapolis Opera, and was mezzo soloist in Messiah with Boston Baroque, under Martin Pearlman. Recent highlights include Azucena in Il trovatore with Opéra Royal de Wallonie; Dame Quickly in Falstaff with Opéra de Lausanne; the Old Lady in Candide with Portland Opera; as “Mulier Smaritana” in Mahler’s Symphony No. 8, under JoAnn Falletta, at the Virginia Arts Festival; and with the Berkshire Choral Festival in selections from Les Pêcheurs de perles, La Rondine, and Aida.

Other recent engagements include performances of Hippolyta in A Midsummer Night’s Dream with Boston Lyric Opera; singing as soloist in Verdi’s Requiem with the Buffalo Philharmonic Orchestra; Verdi’s Requiem with the Cathedral Choral Society at Washington National Cathedral; a return to Boston Baroque for Handel’s Messiah; to Washington National Opera as Auntie in Peter Grimes; and to Boston Baroque for Michael Haydn’s Requiem in C Minor. She also sang as Dame Quickly in excerpts of Falstaff at the National Endowment for the Arts Opera Honors Inaugural Awards Concert at the Kennedy Center.

Her successes include her international operatic debut with New Israeli Opera as La Haine in Gluck’s Armide and a return to the company as Marquise Melibea in Il viaggio a Reims. She also sang Baba the Turk in The Rake’s Progress with Angers Nantes Opera and joined Teatro alla Scala for its production of Maazel’s 1984. Previously with Washington National Opera, she sang Tisbe in La cenerentola and Dame in Die Zauberflöte. She joined Opera Theatre of Saint Louis as Olga Olsen in Street Scene and the company’s production of Hänsel und Gretel; Palm Beach Opera as Isabella in L’italiana in Algeri, and Toledo Opera as Gertrude in Roméo et Juliette. With Santa Fe Opera, she sang Glasa in Kátya Kabanová as well as Teresa in La sonnambula, in addition to scenes of Cornelia in Giulio Cesare and Leonora in La Favorita.

An accomplished oratorio soloist, Ms. Quintero has appeared frequently with Boston Baroque where her performances have included the title role in Vivaldi's Juditha Triumphans and soloist in Messiah. She has also sung Messiah with Charlotte and Alabama symphony orchestras and the National Philharmonic; Beethoven's Symphony No. 9 with Columbus Symphony; Haydn's Paukenmesse at Carnegie Hall; and a concert performance of Guillaume Tell with Opera Orchestra of New York.

Ms. Quintero is a 2006 winner of the Sara Tucker Study Grant from the Richard Tucker Music Foundation as well as the second place winner of the Licia Albanese-Puccini Foundation's International Vocal Competition. In 2005 she received both the George London Award and Sullivan Foundation Award and was a semi-finalist in Plácido Domingo's Operalia Competition in Madrid. She was a 2002 Grand National Finalist in the prestigious Metropolitan Opera National Council Auditions and made her first appearance on the company's stage in the Grand Finals Concert under the direction of Maestro Julius Rudel.

Ann McMahon Quintero was graduated with honors and received her Bachelor of Music from Northwestern University, where her performances included Ravel's Shéhérazade and Bach's Magnificat and Mass in B Minor.

03/2014 - PLEASE DESTROY ANY PREVIOUSLY DATED MATERIAL. MODIFIED VERSIONS MUST BE APPROVED BY BARRETT VANTAGE ARTISTS.

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