SOPHIA BURGOS
General Management
Puerto Rican-American soprano Sophia Burgos is fast emerging internationally as a young talent of outstanding intelligence, musicality and stage presence. Her repertoire ranges from concert repertoire and chamber music to contemporary opera, collaborating with artists in the United States and Europe.

Last season, she gave her role debut as Ann Trulove/The Rake’s Progress with the London Philharmonic Orchestra and Vladimir Jurowski, recorded works by Berio and de Falla with the Sinfonieorchester Basel and Ivor Bolton, made her house debut at De Nationale Oper Amsterdam as Jano in Katie Mitchell’s new production of Jenufa, performed Saint-Saëns’ Le Martyre de Saint Sébastien with the Tonhalle Orchester Zurich under Matthias Pintscher, Beat Furrer's Schnee-Szenen (premiere of concert version) with the Symphonieorchester des Bayerischen Rundfunks under Peter Rundel, Fox/The Cunning Little Vixen with the London Symphony Orchestra and Sir Simon Rattle in London and Paris and Maria in Bernstein’s West Side Story at the Edinburgh International Festival, conducted by Sir John Eliot Gardiner.

Other recent appearances include the title role of Jennie in the New York premiere of Oliver Knussen’s Higglety Pigglety Pop!, her Carnegie Hall debut in Correspondances by Henri Dutilleux with the American Symphony Orchestra, Britten’s Les Illuminations at the Bregenzer Festspiele, Claude Vivier’s Lonely Child with Teodor Currentzis and the Mahler Chamber Orchestra at the Prinzregententheater in Munich and the Elbphilharmonie Hamburg, Bernstein’s Songfest with the BBC Symphony Orchestra and the MDR Sinfonieorchester, Emily Dickinson songs by Robin de Raaf with Het Gelders Orkest and Antonello Manacorda (released on CD by Challenge Records), Quatre Chants Pour Franchir Le Seul by Gérard Grisey at the Elbphilharmonie, the lead role Enoa in Andrew Norman’s To the Moon and back, with the Berlin Philharmoniker and the London Symphony Orchestra, both conducted by Sir Simon Rattle, and Belinda in Dido and Aeneas at the Festival d’Aix-en-Provence.

The season 2019/20 will see further important role debuts, starting with Teresa/Benvenuto Cellini with Sir John Eliot Gardiner and the Monteverdi Ensemble at the BBC PROMS, Musikfest Berlin, Versailles and the BerliozFest in La Côte-Saint-André, followed by a return to De Nationale Oper Amsterdam as Despina in Jossi Wieler’s production of Cosi fan tutte, conducted by Ivor Bolton. Ms Burgos will make role and house debuts at La Monnaie as Susanna/Le Nozze di Figaro and Zerlina/Don Giovanni in the new Da Ponte Trilogy directed by Le Lab and conducted by Antonello Manacorda. In recital, she will appear with pianist Daniel Gerzberg at the Konzerthaus Berlin and the Gaber Auditorium in Milan.

A champion of new works, Ms. Burgos has collaborated with esteemed composers such as Andre Previn, premiering his Two Lyric Songs: The Waking as part of the 75th year anniversary of the Tanglewood Music Center, and with Osvaldo Golijov on his opera Iphigenia in Aulis, with excerpts workshopped at the Metropolitan Opera. Other world premiere performances include the title role of Maria Republica by François Paris with Nantes-Angers Opera and Lily Briscoe in To The Lighthouse by Zesses Seglias at the Bregenzer Festspiele. In 2014 Ms. Burgos appeared at the Lucerne Festival Academy as a soloist in Luciano Berio's Coro, conducted by Sir Simon Rattle, and was selected for masterclasses and private lessons with Barbara Hannigan. She performed as soloist in Schoenberg's String Quartet No. 2 and Matthias Pintscher's Twilight Song.

Sophia Burgos holds a Bachelor degree from the Eastman School of Music, where she collaborated with Brad Lubman and the Muscia Nova Ensemble performing works such as Akrostichon Wortspiel by Unsuk Chin and Steve Reich’s Tehillim. As winner of the Eastman concerto competition she sang Knoxville Summer of 1915 by Samuel Barber in the Eastman Theatre with the Graduate Chamber Orchestra. Other awards include 3rd prizes in the Friends of Eastman Opera competition and the Jesse Kneisel Lieder Competition, the German Lied Prize at the 2017 Nadia and Lili Boulanger International Voice-Piano Competition in Paris and 2nd Prize and Special Prize at the 2018 ‘Schubert und die Musik der Moderne’ competition in Graz.

Ms Burgos completed her Master’s Degree at the Bard College Conservatory’s Graduate Vocal Arts Program. She has performed art song and contemporary music recitals throughout New York City and the Hudson Valley. She is proud to receive close mentorship from Dawn Upshaw.
 
In addition to her career as a singer, Ms. Burgos is passionate about education and outreach through art, holding a degree and certification in Music Education. Originally from Chicago, IL, her earliest musical influences were Spanish folk song and dance, as she and her family are strongly tied to their Puerto Rican heritage. She resides in The Hague.
 
ANY PUBLIC USE OF THE ABOVE TEXT IS NOT PERMITTED WITHOUT SPECIFIC
AUTHORIZATION OF SOREK ARTISTS MANAGEMENT.
"John Eliot Gardiner reveals his true vocation [...] As for the principals, the stand-out star by a mile was Sophia Burgos, as sweet-toned a Maria as I have heard [...]."
thetimes.co.uk, L. Bernstein, Westside Story - Edinburgh International Festival, August 2019
"Sophia Burgos’ Maria floats over the melody, with top notes so pure and controlled that they leave the mouth agape."
fest-mag.com, L. Bernstein, Westside Story - Edinburgh International Festival, August 2019
"Sophia Burgos's Maria was a blazing beacon among the cast."
scotsman.com, L. Bernstein, Westside Story - Edinburgh International Festival, August 2019
"[...] the vocal and acting performances were also remarkable [...] with Sophia Burgos as Maria beyond praise. The conversational way she began I Feel Pretty, for example, was a wonder."
heraldscotland.com, L. Bernstein, Westside Story - Edinburgh International Festival, August 2019
"The sumptuous beauty of the music is matched by some outstanding vocal performances by the cast.[...] Sophia Burgos as Maria, whose vocals from the opening of Tonight onwards have a crystalline quality that is literally goosebump-inducing."
theweereview.com, L. Bernstein, Westside Story - Edinburgh International Festival, August 2019
"[...]Sophia Burgos’s full-toned and finely-sung soprano Fox[...]"
The Arts Desk, Janáček, The Cunning Little Vixen - London Symphony Orchestra, Sir Simon Rattle, June 2019
"[...]it was a fine line-up[...] Sophia Burgos was the bright-voiced Fox[...]"
ft.com, Janáček, The Cunning Little Vixen - London Symphony Orchestra, Sir Simon Rattle, June 2019
"Eine zerbrechliche Klangwelt tut sich auf: aus Stille, düsteren Klangwolken, Oboenmelancholie, nervösem Schlagwerk, klirrenden Harfenzupfern [...] erhebt sie ihre Stimme exaltiert zur berührenden Anklage."
Stuttgarter Zeitung, George Crumb, Ancient Voices of Children - SWR Sinfonieorchester/Th.Currentzis, February 2019
"There was also much to enjoy in Sophia Burgos’s Anne Trulove. The voice is a rich one, deeply expressive, but entirely capable of meeting the demands of Stravinsky’s writing for the soprano part. Her Cabaletta at the end of Act I was truly memorable - a declaration of love for Tom that was shining in its vocal brilliance and elegant phrasing and a ringing high C to end."
www.operatoday.com, Stravinsky, The Rake's Progress - London Philharmonic Orchestra, Vladimir Jurowski, November 2018
“Three cast changes, the last only two days before the show, might have put a few people off attending[…] Well, their loss. Brilliantly sung from memory, with enunciation so clear you barely needed the surtitles[…] this was compelling theatre as well as terrific music-making[…] And there was one rising star: the Puerto Rican American soprano Sophia Burgos, a beautifully lyrical, touchingly depicted Anne.”
The Times, Stravinsky, The Rake's Progress - London Philharmonic Orchestra, Vladimir Jurowski, November 2018
“Puerto Rican American soprano Sophia Burgos was a supremely simpatica Anne Trulove[…] The biggest thrill came in Anne's semi-supernatural intervention in the card game, more than the usual echo of past material, and the greatest balm in her cradle-song to the temporarily soothed mad Tom in the tearjerking simplicity of a trio with flautists Juliette Bausor and Sue Thomas - music of the spheres indeed - prolonged the 'exquisite penitence' of the preceding duet.”
The Arts Desk, Stravinsky, The Rake's Progress - London Philharmonic Orchestra, Vladimir Jurowski, November 2018
“Faithful Anne was not Miah Persson but an American newcomer, Sophia Burgos, blessed with a limpid soprano and just the right degree of winsome charm.”
The Daily Telegraph, Stravinsky, The Rake's Progress - London Philharmonic Orchestra, Vladimir Jurowski, November 2018
"Sophia Burgos was a lovely, if rather serious Anne. The voice has a gorgeous limpid quality in its upper reaches and a mellow lower register. She excelled in some of the tricky decorative passages and her final farewell to Rakewell showed her considerable artistry."
classicalsource.com, Stravinsky, The Rake's Progress - London Philharmonic Orchestra, Vladimir Jurowski, November 2018
"...Sophia Burgos’s exquisite-sounding Eoa..."
The Guardian, Andrew Norman, A Trip to the Moon - London Symphony Orchestra/Sir Simon Rattle, July 2017
"Eoa’s community of Moon people communicate chorally in their own language [...] These two terrains are intended, according to the programme notes, to present two entirely separate worlds: domains unrecognisable and fearsome to each other. [...] Sophia Burgos as Eoa created a silvery, mystical texture with an instrument that clearly manifested a progression from diffidence to unabashed confidence."
Bachtrack.com, Andrew Norman, A Trip to the Moon - London Symphony Orchestra/Sir Simon Rattle, July 2017
"Sophia Burgos singt das versunken in Einsamkeit, die Orchesterbegleitung durch das Mahler Chamber Orchestra klingt wie zusammengesammeltes Kinderspielzeug: immer mehr Instrumente, immer mehr klagend, zitternd die Singstimme, ein Schlaf- und Traumlied von weit entfernten Sternen, immer wieder durch heftige Paukenakzente gegliedert. Das war entsprechend packend, verstörend und grandios interpretiert."
Bayerische Staatszeitung, Claude Vivier, Lonely Child - Mahler Chamber Orchestra/Teodor Currentzis, April 2017
"Claude Viviers "Lonely Child" prägt eine esoterische Form der Minimal Music aus. In jedem anderen Konzert wäre das ein Highlight gewesen, auch wegen der Gesangssolistin Sophia Burgos, die die faszinierendsten Klangmischungen zwischen instrumental und vokal hinzaubert."
Sueddeutsche Zeitung, Claude Vivier, Lonely Child - Mahler Chamber Orchestra/Teodor Currentzis, April 2017

Sophia Burgos

Bio English

Sophia Burgos

Photo Credit: Kate Lemmon Photography

Sophia Burgos

Photo credit: Kate Lemmon Photography

Please send us an e-mail to info@sorekartists.com or use the links listed below:


To
 
Name
 
 
Email
 
 
Phone
 
Phone 2
Your Message
 
Check this box if you would like to receive a copy of this e-mail