The New York Times lauds American mezzo-soprano Christina Carr as “utterly convincing” and a “show-stealer.” Ms. Carr is rapidly establishing her place as a formidable dramatic mezzo-soprano. This summer she performed Maddalena in Rigoletto and Berta in Il barbiere di Siviglia with Cleveland’s Opera Circle where she has also performed Amneris in Aida and Azucena in Il Trovatore. She participated in the Wagner Intensive headed by Jane Eaglen and Tim Mussard, performing scenes as Venus in Tannhäuser, Isolde in Tristan und Isolde, Kundry in Parsifal, Fricka and Schwertleite in Die Walküre. Recently she performed the role of Marquise de Berkenfield in La Fille du Regiment with Taconic Opera with whom she has performed Azucena in Il Trovatore, Madam Flora (Baba) in The Medium, La zia principessa in Suor Angelica, and La Frugola in Il Tabarro.
Ms. Carr performed the role of Alisa in Lucia di Lammermoor with Opera Omaha in March 2004. In 2003 with Central City Opera she sang the role of Zulma in L'Italiana in Algieri, under the baton of Hal France, and created the role of Jane Gordon in the world premiere of Gabriel's Daughter by Henry Mollicone, under the baton of John Moriarty.
An alumna of the Juilliard Opera Center, she has performed the roles of Mrs. McLean in Floyd's Susannah and Mother Jeanne in Poulenc's Dialogues of the Carmelites under the baton of Julius Rudel. She created the role of Berthe in Juilliard's commissioned work Heloise and Abelard by Stephen Paulus. At Juilliard she appeared as the alto soloist in Beethoven's Mass in C Major in Alice Tully Hall. As a graduate student at the Eastman School of Music, Ms. Carr performed the roles of Amastris in Handel's Xerxes, Lady Jane in Gilbert and Sullivan's Patience, and Maurya in Vaughn Williams' Riders to the Sea.
Ms. Carr was the first-prize winner of the New York Vocal Artists competition in 2002. She was also a finalist in the 2002 MacAllister awards, and a regional finalist in the 2002 Metropolitan Opera National Council Auditions.