{"id":774,"date":"2021-08-06T13:58:26","date_gmt":"2021-08-06T11:58:26","guid":{"rendered":"https:\/\/centrestagemanagement.com\/?p=774"},"modified":"2026-09-16T11:59:10","modified_gmt":"2026-09-16T09:59:10","slug":"emily-pogorelc","status":"publish","type":"post","link":"https:\/\/centrestagemanagement.com\/en\/artists\/soprano\/emily-pogorelc\/","title":{"rendered":"Emily Pogorelc"},"content":{"rendered":"

American soprano Emily Pogorelc is praised by critics and audiences alike for her soaring, unique voice and captivating stage presence. Pogorelc has firmly established herself in a thriving career, consistently dazzling on many of the world\u2019s top stages. In her 2024 Metropolitan Opera debut, Pogorelc \u201castonished in every way imaginable\u2026[she] filled the stage with\u2026a fantastic lyric coloratura, bright and crystalline. Her movement was filled with great flexibility and charisma\u2026she lit up the stage every time\u2026\u201d (OperaWire).<\/em><\/p>\n

Emily Pogorelc begins the 2026\/27 season with a company debut at Deutsche Oper Berlin in one of her signature roles, Pamina in Die Zauberfl\u00f6te<\/em><\/strong>, which she reprises at the Metropolitan Opera later in the season. Following last season\u2019s acclaimed house debut, she returns to the Vienna State Opera as Adina in Donizetti’s L’elisir d’amore<\/em><\/strong>, makes her role debut as Konstanze in Mozart’s Die Entf\u00fchrung aus dem Serail<\/em><\/strong> at the Bayerische Staatsoper under Patrick Lange, and a house and role debut at the Royal Opera House Covent Garden as Despina in Netia Jones’ new production of Cos\u00ec fan tutte<\/em><\/strong>, conducted by Thomas Hengelbrock.<\/p>\n

On the concert stage, Pogorelc begins her 2026\/27 engagements with a European tour alongside the Ukrainian Freedom Orchestra under Keri-Lynn Wilson, performing Mahler\u2019s R\u00fcckert-Lieder<\/em><\/strong> at Amsterdam\u2019s Concertgebouw, Hamburg\u2019s Elbphilharmonie and the National Concert Hall in Dublin. She subsequently appears with the Netherlands Radio Philharmonic Orchestra in Rossini’s Stabat Mater<\/em><\/strong>, sings Brahms’ Ein deutsches Requiem<\/em><\/strong> with the Atlanta Symphony Orchestra and Natahlie Stutzmann, joins the Rheingau Musik Festival for Orff’s Carmina Burana<\/em><\/strong>, and reunites with Rolando Villaz\u00f3n for several gala concerts.<\/p>\n

The 2025\/26 season alone brought no less than five role debuts: the title role of Marie in Smetana\u2019s The Bartered Bride<\/em><\/strong> at the Bayerische Staatsoper, Susanna in Le nozze di Figaro<\/em><\/strong> at Dutch National Opera, Sophie in Der Rosenkavalier<\/em><\/strong> at Opernhaus Z\u00fcrich, Nannetta in Falstaff<\/em><\/strong> at the Wiener Staatsoper, and Le\u00efla in a concert performance of Bizet\u2019s Les p\u00eacheurs<\/em><\/strong> de perles<\/em><\/strong> with Washington Concert Opera. At the Metropolitan Opera, Pogorelc has appeared as Lisette in Puccini\u2019s La rondine<\/em><\/strong>, Musetta in La boh\u00e8me<\/em><\/strong> and Pamina in The Magic Flute<\/em><\/strong>, in Julie Taymor\u2019s classic holiday presentation. Additionally in the US, Pogorelc reprised Musetta for Dallas Opera, sang Cleopatra in Handel\u2019s Giulio Cesare<\/em><\/strong> for Opera Theatre of Saint Louis and was heard as Cunegonde in Bernstein\u2019s Candide<\/em><\/strong> for Washington National Opera. Her Violetta Val\u00e9ry in La traviata<\/em><\/strong> has been heard at Detroit Opera and Semperoper Dresden, where she has also appeared as Amina in a new production of La sonnambula<\/em><\/strong> and, most recently, Juliette in Rom\u00e9o et Juliette<\/em><\/strong>. Pogorelc sang Pamina in Rolando Villaz\u00f3n\u2019s new production of Die <\/em><\/strong>Zauberf\u00f6te<\/em><\/strong> at the 2026 Salzburg Mozartweek Festival and Santander International Festival and performed the title role in Mozart\u2019s Il re pastore <\/em><\/strong>with Camerata Salzburg on the occasion of the piece\u2019s 250th<\/sup> anniversary in 2025.<\/p>\n

As a member of the Bayerische Staatsoper ensemble from 2020 to 2024, Pogorelc\u2019s acclaimed portrayals include Lucia in Lucia<\/em><\/strong> di<\/em><\/strong> Lammermoor<\/em><\/strong>, Ilia in Idomeneo<\/em><\/strong>,<\/em><\/strong> Pamina in Die<\/em><\/strong> Zauberfl<\/em><\/strong>\u00f6<\/em><\/strong>te<\/em><\/strong>, Adina in L<\/em><\/strong>‘<\/em><\/strong>elisir<\/em><\/strong> d<\/em><\/strong>‘<\/em><\/strong>amore<\/em><\/strong>, Xenia in Boris<\/em><\/strong> Godunov<\/em><\/strong>, and Gretel in H<\/em><\/strong>\u00e4<\/em><\/strong>nsel<\/em><\/strong> und<\/em><\/strong> Gretel<\/em><\/strong>.<\/em><\/strong> With the Royal Danish Opera, she made her company and role debut singing Servilia in La clemenza di Tito<\/em><\/strong>, a role which also served as the vehicle for her debut with the Festival d’Aix-en-Provence.<\/p>\n

Engagements in concert, a pillar of Pogorelc\u2019s career, include recent appearances with the Royal Stockholm Philharmonic under Manfred Honeck in an all-Strauss programme and her Pittsburgh Symphony Orchestra debut, also under Honeck, as soprano soloist in Handel\u2019s Messiah<\/em><\/strong>. She also performed Mahler\u2019s Symphony No. 4<\/em><\/strong> with the Royal Danish Orchestra under Marie Jacquot. Further highlights include Brahms\u2019 Ein <\/em><\/strong>deutsches Requiem<\/em><\/strong> with the Iceland Symphony Orchestra under Bertrand de Billy and her solo recital debut with Vocal Arts DC at the Kennedy Center, and a London concert with The Mozartists under Ian Page, released by Signum Classics on <\/strong>Sturm und Drang, Vol. 3<\/em><\/strong>. In addition to the Salzburg Mozartweek, Pogorelc has appeared at the Salzburg Festival and Easter Festival, performing Mendelssohn\u2019s Elias<\/em><\/strong> under Maxim Emelyanychev, Mozart arias with the Mozarteumorchester Salzburg and Roberto Gonz\u00e1lez-Monjas and Mozart\u2019s Requiem<\/em><\/strong> with the Mozarteumorchester Salzburg under Pablo Heras-Casado.<\/p>\n

Pogorelc has received prizes from Placido Domingo\u2019s Operalia, the inaugural Glyndebourne Opera Cup, the Gerda Lissner Foundation, Opera Index, the Hal Leonard Art Song Competition, and the Dominick Argento Competition. A graduate of the Curtis Institute, Pogorelc was a participant in Lyric Opera of Chicago\u2019s Ryan Opera Center, and a member of the Ensemble of the Bayerische Staatsoper in Munich. The soprano is a proud native of Milwaukee, Wisconsin.<\/p>\n

\u00a9 CSAM, August 2026<\/p>","protected":false},"excerpt":{"rendered":"

American soprano Emily Pogorelc is praised by critics and audiences alike for her soaring, unique voice and captivating stage presence. Pogorelc has firmly established herself in a thriving career, consistently dazzling on many of the world\u2019s top stages. In her 2024 Metropolitan Opera debut, Pogorelc \u201castonished in every way imaginable\u2026[she] filled the stage with\u2026a fantastic lyric coloratura, bright and crystalline. Her movement was filled with great flexibility and charisma\u2026she lit up the stage every time\u2026\u201d (OperaWire).<\/p>\n","protected":false},"author":3,"featured_media":3133,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[3],"tags":[],"class_list":["post-774","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-soprano"],"acf":[],"_links":{"self":[{"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/posts\/774","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/comments?post=774"}],"version-history":[{"count":36,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/posts\/774\/revisions"}],"predecessor-version":[{"id":12874,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/posts\/774\/revisions\/12874"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/media\/3133"}],"wp:attachment":[{"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/media?parent=774"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/categories?post=774"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/tags?post=774"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}