Julia Kierstine 
 soprano
Biography
American soprano Julia Kierstine has garnered critical acclaim for both her “resplendent instrument” and for her vivid emotional portrayals of the Spinto soprano repertoire. In May 2010 Miss Kierstine made her New York debut singing the soprano lead, Maliella, in Ermanno Wolf-Ferrari’s “I Gioielli della Madonna”, with Teatro Grattacielo at Rose Hall, Home of Jazz at Lincoln Center.  Reviewing her performance in the New York Times, Anthony Tommasini noted Miss Kierstine’s “powerful, earthy soprano” in an “impressive performance”. (New York Times May 26, 2010).  Nino Pantoni of the Italian News reviewed her Maliella thusly: “Julia Kierstine sang in a sumptuous soprano and represented the “free spirit” of a Nedda, the impetuousness of a Tosca and the fickleness of a Manon in this most dramatic of roles. The music has many passages that soar. One felt the impetuousness of this foolish frustrated young woman caught in a web of her own spinning. This was a “tour de force” for Ms. Kierstine and truly gave the audience that special something we all long for and all too rarely hear these prosaic days.”
 
In February 2009 this many-faceted soprano received rave reviews for her performances of Puccini’s Manon Lescaut with Hawaii Opera Theatre: “The role of Manon is a prime example of….a heroine in her teens with a vocal part that demands a fully mature voice.  (Julia Kierstine’s) large, clear, flexible soprano created a dynamite Manon.  Her head voice was sweet and warm, anchored in a  powerful chest voice.  Hers was by far the largest and fines voice on stage.”   (Honolulu Advertiser, February 01, 2009).  And: “Manon’s role requires a strong lirico spinto soprano, one who can sing over the orchestra while carrying a dramatic tone.  At the same time Manon must be gracious, coquettish and sometimes shy – able to magnetize young and old men, while fascinating the audience with her voice.  Kierstine had all these qualities and more.  With nuanced expressiveness, volume control, a shimmering vice and a wonderful stage presence, she won the audience’s approval with no reservation.”  (Honolulu Star Bulletin).  In the role of Tosca Miss Kierstine has won equally impressive accolades: “…..a sizzling Tosca (who) clearly understands the verismo vocal tradition and has the technique to carry it off with aplomb.”  (Palo Alto, California).  As Leonora in FIDELIO:  “Miss Kierstine who wowed CSO audiences previously as Mimi and as Violetta, showed tremendous musical and dramatic range, (as the) brave and loyal Leonore…..the incomparable duet of rapturous joy being the climax of the opera.”  (Chattanooga Times Free Press).

Highlights from recent seasons include the title role in Puccini’s “Manon Lescaut” with San Francisco Opera, (2006) where she was rehearsal and performance Cover for famed soprano Karita Mattila.  She was immediately invited back to San Francisco Opera to cover Verdi’s Lady Macbeth (2007), and Tosca (2009).  Among other Puccini heroines Miss Kierstine has to her credit are the roles of Minnie in “La Fanciulla del West”, numerous performances of Mimi in “La Bohème”, and the title role of “Madama Butterfly”.  Other opera credits include Amelia in “Un Ballo in Maschera”, Leonora in “IL Trovatore”, Violetta in “La Traviata”, Rosalinda in “Die Fledermaus”, Donna Anna in “Don Giovanni” and Fiordiligi in “Cosi fan Tutte”.

For Miss Kierstine’s portrayal of Leonora in “IL Trovatore”, she received unanimous praise:
“....a resplendent instrument, able to carry off the iridescent coloratura passages.  Her Leonora enkindled the whole cast in scene after scene…..”  (San Jose, California).  And: “The musical treat of the evening was Julia Kierstine.  To the famed Adagio, ‘D’Amor sull’ali Rosee’, she lent a sumptuous array of coloratura ornaments, including several splendid pianissimi and a spinning, pulsing trill that absolutely mesmerizes the listener.  She is a treasure.” (Palo Alto, CA). Of Miss Kierstine’s portrayal of Amelia in “Un Ballo in Maschera”: “Soprano Julia Kierstine was a splendid Amelia.  She would reach for climactic notes fearlessly, rendering them truly and without shrillness – then drop to a sweet, beautifully controlled messa di voce.  The long Act II duet proved the musical highlight.”  (San Francisco Chronicle).

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