“...it is a rare talent that can send chills down a listener's spine even in familiar music.” Carnegie Hall - The New York Times
Celebrated by the New York Times for her “rare talent that can send chills down a listener's spine even in familiar music,” Jennifer Check returns to the Metropolitan Opera as Fiordiligi in Così fan tutte, while also joining the company for Maria Stuarda in the 2019/20 season. She also sings the Governess in The Turn of the Screw with On Site Opera, Beethoven’s Symphony No. 9 with Virginia Symphony, Verdi’s Requiem in “The Defiant Requiem” with the Valdosta Symphony Orchestra, and returns to the Lyric Opera of Chicago for their Three Queens concerts. Last season, she sang Donna Anna in Don Giovanni and Elena in Mefistofele at the Metropolitan Opera, in addition to joining the company for their productions of Otello and Dialogues des Carmélites.
Ms. Check recently debuted several Verdi heroines: Abigaille in Nabucco with Opéra national de Montpellier, Lady Macbeth in Macbeth with Opéra de Nancy et de Lorraine, Elisabeth in Don Carlos at the Caramoor International Music Festival, the title role of Aida and Leonore in Il trovatore with Utah Opera, and Desdemona in Otello and Aida in concert with Berks Opera in Pennsylvania. Other recent performances include Fifth Maid in Elektra with Houston Grand Opera, the title role of Ariande auf Naxos with Opéra de Toulon, Iphigenie in Iphigénie en Tauride at the Palau de les Artes Reina Sofía, Chrysothemis in Elektra with Michigan Opera Theatre, a reprisal of Lady Macbeth in Macbeth and the title role of Norma with Palm Beach Opera and the Opera Company of Philadelphia, Sirin in The Legend of the Invisible City of Kitezh with Nederlandse Opera, Madame Lidoine in Dialogues des Carmélites with Austin Lyric Opera, a return to the Caramoor International Music Festival as Blanche de la Force in Dialogues des carmélites, Lady Billows in Albert Herring under the baton of Lorin Maazel at the inaugural season of the Castleton Festival, and Clorinda in La cenerentola at Spoleto Festival U.S.A. She created the role of Almera in the world premiere of Nico Muhly’s Dark Sisters with Gotham Chamber Opera and sang subsequent performances in her return to the Opera Company of Philadelphia. She joined Tokyo Opera Nomori as the Fifth Maid in Elektra as well as for concert performances of Chrysothemis with Seiji Ozawa conducting and has since joined James Levine and the Boston Symphony Orchestra at the Tanglewood Music Festival, Christoph Eschenbach and the Philadelphia Orchestra, and the Royal Opera House at Covent Garden for further performances of the Fifth Maid. With Opera Orchestra of New York, she sang Agathe in Der Freischütz and Mathilde in Guillaume Tell in young artist performances.
A frequent presence at the Metropolitan Opera, she has previously joined the company as Donna Elvira in Don Giovanni, Liu in Turandot in the company’s famed Parks performances, Falke in Die Frau ohne Schatten, Voce dal Ciel in Don Carlo, Nella in Gianni Schicchi, Marianna in Der Rosenkavalier, Dorotea in Stiffelio, the Fifth Maid in Elektra, Lisa in Cyrano de Bergerac, as well as productions of Saariaho’s L’amour de loin, Die Meistersinger von Nürnberg, Falstaff, The Nose, Lucia di Lammermoor, Dialogues des Carmélites, Anna Bolena, Maria Stuarda, and on tour at the Salzburg Festival as the Flower Maiden in Parsifal. A former member of the prestigious Lindemann Young Artists Development Program, she made her company debut as Clotilde in Norma.
On the concert stage, Ms. Check has excelled in further performances of Verdi’s Requiem with the Milwaukee Symphony Orchestra, Utah Symphony, Detroit Symphony Orchestra, Chicago Philharmonic, Virginia Symphony Orchestra, Brevard Music Center and the Berkshire Chorale, Washington Chorus, Reno Philharmonic, Spoleto Festival U.S.A., Greensboro Symphony Orchestra, and Cathedral Choral Society. She has also joined the New Jersey Symphony Orchestra and Shanghai Symphony for Strauss’ Vier Letzte Lieder; James Levine at the Verbier Festival for Mahler’s Symphony No. 2; American Symphony Orchestra for Elgar’s The Apostles; the St. George’s Choral Society for Dvorak’s Stabat Mater; Milwaukee Symphony Orchestra for Mahler’s Symphonies No. 2 and No. 8 (Una Poenitentium); Aspen Music Festival for Saariaho’s Cinq reflets; Magna Peccatrix in Mahler’s Symphony No. 8 with the Grand Rapids Symphony and Virginia Arts Festival, Utah Symphony and Spoleto Festival U.S.A. for Vaughn Willams’ Dona nobis pacem; Colorado Music Festival, Memphis Symphony Orchestra, and Phoenix Symphony for Beethoven’s Symphony No. 9; Charlotte Symphony for Mendelssohn’s A Midsummer Night’s Dream; Spoleto Festival U.S.A. for Beethoven’s Mass in C; and the Greensboro Symphony for Rossini’s Stabat Mater and Orff’s Carmina Burana. She made her Carnegie Hall debut singing Messiah with the Oratorio Society of New York and later performed Barber’s Prayers of Kirkegaard with the same ensemble and joined the Choral Arts Society of Philadelphia for Mozart’s Requiem and Mendelssohn’s Psalm 42. She has joined the Philadelphia Orchestra for a program of Mozart, Bach, and Gounod. Additionally, she made debuts in Carnegie Hall’s Zankel Hall in and at The Kennedy Center presenting solo recitals on the Young Concert Artists series.
Jennifer Check is an alumnus of The Academy of Vocal Arts in Philadelphia and received a Bachelor of Music Degree in Voice Performance from Westminster Choir College. The soprano’s accolades include first place awards from the Loren L. Zachary Competition, Licia Albanese-Puccini Foundation, Oratorio Society of New York Solo Competition, Liederkranz Foundation, and the Mario Lanza Scholarship Auditions. She was awarded a Sara Tucker Study Grant from the Richard Tucker Foundation, the Zarzuela Prize in Placido Domingo’s Operalia Competition, and the Leonie Rysanek memorial prize from the George London Foundation.
Photo Credit: Kristin Hoebermann
Representation in Latin America and some regions os Spain in collaboration with World Manager Guy Barzilay of Barzilay Artists Management