"All I've Ever Known"
Artist's website: www.augustacaso.com
Sgombra è la sacra selva...Deh! proteggimi, o Dio!
Hailed by the LA Times as “mysteriously smoldering…a name to remember,” mezzo-soprano Augusta Caso made her Metropolitan Opera debut in 2018 as a Flowermaiden in Wagner’s Parsifal under the baton of Maestro Nézet-Séguin, and her Los Angeles Opera debut in Getty’s Canterville Ghost as First Otis Twin, also performing the role with the Center for Contemporary Opera in 2017.
The upcoming season sees her debut at the Kennedy Center in Washington, DC as
alto soloist in Mozart’s Requiem, a return to Rossini’s Petite Messe Solennelle with Concerts at St Ignatius in NYC, and a role debut with Bohème Opera NJ as Maddalena in Verdi’s Rigoletto. Ms. Caso joins American Opera Projects’ Composers and the Voice program as a resident artist. She looks forward to creating the role of Marilyn Monroe in a new work by JacobTV, Able to Be/Harper Songs, at National Sawdust in 2020.
In 2018-2019, Ms. Caso covered the title role of Tancredi and sang the role of Isaura in Tancredi rifatto with Maestro Will Crutchfield at Teatro Nuovo, and sang the title role in Carmen with New York Opera Collaborative. She made her Trinity Wall Street / NOVUS NY debut in the title role of Laura Schwendinger’s Artemisia and her Carnegie Hall debut with Mid-Atlantic Productions as alto soloist in Haydn’s Lord Nelson Mass, and joined Little Opera Theatre of New York as Kate Julian in the NY premiere of Britten’s Owen Wingrave.
Ms. Caso made her debut with the Center for Contemporary Opera in 2016 as Anaïs Nin in a double-bill of Andriessen’s Anaïs Nin and Odysseus’ Women, directed by Jorinde Keesmaat. The New York Times called her “compelling…Ms. Caso’s acting and her expressive, poignant singing combined for a courageous performance.” She made her European debut in the same role at the Musiekgebouw aant’IJ in Amsterdam, a performance called “a star role” in Volkskrant that earned her a nomination for the Schaunard award in the Netherlands. Ms. Caso returned to Amsterdam, and debuted at Operadagen Rotterdam, as Anaïs Nin in 2019.
Ms. Caso performed the role of Gilade in the US premiere of Vivaldi’s Il Farnace at the Spoleto Festival, USA; sang the roles of Suzuki in Madama Butterfly and Hélène in La Belle Hélène at Opera North; Blanche in Dialogues of the Carmelites with Resonanz Opera; covered the role of Suzuki and sang Mère Jeanne in Dialogues at Sarasota Opera; and sang Dorabella in Così fan tutte with Divaria Productions (NYC), in 2017.
Ms. Caso performed with the Ars Musica Chorale (NJ) as the alto soloist in Rossini’s Petite Messe Solennelle and performed the alto solos in the Reading Choral Society’s Messiah (PA).
In 2015-2016, Ms. Caso sang Prince Charming in Cendrillon with Utopia Opera; the title role in Cenerentola with Opera on Tap (NY); and performed Mahler’s Rückert-Lieder with the Manchester Symphony Orchestra; Berlioz’s Les nuits d’été with the South Shore Symphony; and Handel’s Messiah with the Winston-Salem Symphony. She was a finalist in Annapolis Opera’s Competition and winner of the Adrienne Goldberg Study award, and joined Caramoor’s Bel Canto program as an Apprentice Artist.
Additional operatic roles have included Rosina in Il Barbiere di Siviglia; Cherubino in Le Nozze di Figaro; Stéphano in Roméo et Juliette; Poppea in L’incoronazione di Poppea; and Sesto in La Clemenza di Tito. Ms. Caso also frequently sings as an ensemble member with some of the most prestigious choral groups in America, including Roomful of Teeth, Musica Sacra, the choirs of St. Ignatius Loyola on Park Ave and the Cathedral of St. John the Divine, and The Thirteen. Augusta received her Bachelor of Arts with Highest Honors from Williams College in Williamstown, Massachusetts, and her Master of Music from the University of Oklahoma, where she was the recipient of a Weitzenhoffer College of Fine Arts Opera Fellowship. Augusta grew up in Phoenix, Maryland and studies with Andrea DelGiudice.
"Compelling... Ms. Caso’s acting and her expressive, poignant singing combined for a courageous performance.”
- Anthony Tommasini, New York Times, October 21, 2016