Hailed by the New York Times for her “technically accomplished coloratura” as well as, “floating lyricism,” soprano Nicole Haslett returns to the Opera Theatre of Saint Louis for Sophie in Picker’s Emmeline and sings her first performances of Handel’s Messiah with the New Choral Society in the 2014-15 season. She also joins the roster of the Metropolitan Opera for its new production of Iolanta after singing excerpts of Zerbinetta from Ariadne of Naxos and Nannetta from Falstaff conducted by Marco Armiliato on the famed company’s stage as a grand finalist of the Metropolitan Opera National Council Auditions last season. Next season she will join the Deutsche Oper Berlin for her European debut and a number of roles that include First Niece in Peter Grimes, Semele in Die Liebe der Danae, and Frasquita in Carmen. Her future engagements include a title role debut of a bel canto heroine with Utah Opera. Last season she joined Chautauqua Opera for Sarah as well as the cover of the title role in The Ballad of Baby Doe and, as a Resident Artist with Portland Opera, she covered the title role of Lucia di Lammermoor and Mabel in Pirates of Penzance.
Ms. Haslett is a former Gerdine Young Artist of the Opera Theatre of Saint Louis, where she sang Echo in Smetana’s The Kiss while also being responsible for the role of Barče. Other recent performances include Nannetta in Falstaff with Martina Arroyo’s Prelude to Performance and Susanna in Le nozze di Figaro with Opera in the Ozarks. In the summer of 2012, she spent six weeks in Beijing with the I SING BEIJING program and in the following spring, she was presented by the program as a featured singer in a concert of Yan Jinxuan’s 白毛女 (The White-Haired Girl) at New York’s Alice Tully Hall.
In addition to her acclaim in the Metropolitan Opera National Council Auditions, Ms. Haslett is a 2012 Alan M. and Joan Taub Ades Vocal Competition winner and a 2012 Career Bridges Grant winner. She holds a Master of Music in vocal performances from the Manhattan School of Music, at which she sang Florestine in Corigliano’s The Ghosts of Versailles as well as Eva in Haydn’s Die Shöpfung conducted by Kent Tritle. Her performance credits at New York University, from which she earned her Bachelor of Music, include Despina in Così fan tutte and Jennie Parsons in Weill’s Down in the Valley in addition to winning the Excellence in Vocal Performance Award.