Soprano
Sarah Vautour

Reviews


  BIOGRAPHY  

 

The American high soprano Sarah Vautour has just succeeded as VIOLETTA in “La Traviata” in her debut at the Oldenburg State Theatre.

In 2020, Sarah Vautour moved to Germany after a two-year membership in the Domingo-Colburn-Stein Young Artist Programme at the Los Angeles Opera. There she made her successful European debut in the role of TEBALDO in the production of “Don Carlo” at the Theater Bonn.

In the States she had already appeared as BESS in “Breaking the waves” at the Opera of Detroit and made her role debut as the QUEEN OF THE NIGHT in “Die Zauberflöte” with Maestro Patrick Summers at the Aspen Opera Center as a founding member of the Fleming Artist Class. At the Los Angeles Opera, she made her debut as TAUMÄNNCHEN in Humperdinck's “Hansel und Gretel” under the baton of Maestro James Conlon, as PAPAGENA and as ZIPPORAH / VOICE OF GOD in the world premiere of Henry Mollicone's “Moses”. She also covered the VOCE DAL CIELO in “Don Carlo”, GRETEL and was scheduled to appear as BARBARINA in “Le nozze di Figaro” in the shortened 2019/20 season. At the Opera Santa Barbara, Ms. Vautour appeared as BEATRICE in Daniel Catán's “Il postino”. She was a resident artist at Teatro Nuovo, where she performed in Rossini's Stabat Mater and covered the title role in Bellini's “La Straniera”, as well as an apprentice artist at Des Moines Metro Opera, where she covered ADELE in Johann Strauss's “Die Fledermaus”.

Sarah Vautour earned a Master of Music degree from Rice University and a Bachelor of Music degree from the College-Conservatory of Music at the University of Cincinnati. Notable performances during her studies include the title role in Donizetti's MARIA STUARDA and MORGANA in Handel's “Alcina” with the CCM Opera d'arte; ROSE MAURRANT in “Street scene” with Harrower Summer Opera Workshop; Mozart arias and DONNA ANNA in Stephen Stucky's THE CLASSICAL STYLE Spano at the Aspen Music Festival.

As a concert singer, she performed as a soprano in Beethoven's 9th Symphony at the Arizona Music Festival, with the Cincinnati Symphony Orchestra and Maestro James Conlon as soprano soloist in Mahler's Das klagende Lied or several times as the soprano in CARMINA BURANA with the Memphis Symphony, the Northwest Florida Symphony and the Amarillo Symphony. She has also gave several Lieder concerts in Berlin.

Future engagements take her again to the Lithuanian National Theatre as GIULIETTA in “Les contes d’Hoffmann”, where she made her debut with the same role last season.

 

 
 
REVIEWS
 
Staatstheater Oldenburg – La Traviata – VIOLETTA
...particularly Sarah Vautour’s acting. The young singer perfectly slips into the role of Violetta, whether as star of the demimonde, as dropout (who falls in love with Alfredo and moves to the countryside) or as terminally ill woman. Besides, she sings captivatingly and expressively with an outstanding timbred soprano voice full of vibrato. Her mastering the coloraturas and the extreme high notes is simply splendid. The colour range and the sound of her dark soprano voice are developable.
Das Opernglas 10/25, M. Wilks
Seiten aus Pressespiegel 27.10.25.pdf
Aspen Music Festival – The Magic Flute – QUEEN OF THE NIGHT
…and Sarah Vautour as the Queen of the Night had an imposing stage presence, and nailed nearly all of the treacherous high notes in her two arias.
Seen and Heard International
seenandheard-international.com
Los Angeles Opera – The Magic Flute – PAPAGENA
Georgia soprano Sarah Vautour was a lively Papagena.
Opera Warhorses
operawarhorses.com
Theo Hoffman and Sarah Vautour made for two delightful love birds as Papageno and Papagena.
Classical Voice
classicalvoice.org
Teatro Nuovo New York – Stabat Mater
And finally, the moment I was waiting for, the “Inflammatus et accensus.” Soprano Sarah Vautour, who clearly knew she’d gotten the prime aria, came dressed to kill in an asymmetrical cloud of blue tulle over a pointed sweetheart neckline. Her voice was a little light for the aria, but her sound was appropriately mysterious and intense, with an urgency behind it that never got in the way of beautiful, lyrical singing. Like at the end of the Verdi Requiem, a solid high C over the whole choir and orchestra is the true test of whether you’ll be spared on the Day of Eternal Judgement, and I think Ms. Vautour would have been sent to the good place for hers.
Parterre Box
parterre.com