Dana Beth Miller

Dana Beth Miller

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Dana Beth Miller has established herself as one of the most promising and exciting dramatic mezzo-sopranos on the stage today. She has been engaged by the leading opera houses around the world including the Metropolitan Opera, Lyric Opera of Chicago, Deutsche Oper Berlin, San Francisco Opera, Washington National Opera, Grand Théâtre Genève, New York City Opera, Seattle Opera, Dallas Opera, Boston Lyric Opera, and Cincinnati Opera, among many others.

The 2019-2020 season sees her debut with Virginia Opera in Il Postino and joins Opera Ronoake for their production of A Streetcar Named Desire. The 2018-2019 season saw her debut with the Boston Symphony Orchestra in Suor Angelica, an engagement with the Metropolitan Opera for their acclaimed Ring Cycle production for Die Walküre, and a return to Boston Lyric Opera as Offred’s Mother in The Handmaid’s Tale. Her 2017-2018 season included Santuzza in Cavalleria rusticate with New Orleans Opera, Amneris in a new production of Aïda with English National Opera, Erda in Das Rheingold with Arizona Opera, the mezzo-soprano soloist in Verdi’s Requiem with the Oregon Symphony, and Dame Quickly in Falstaff with Opera Colorado.

Ms. Miller opened her 2016-2017 season with the National Taiwan Symphony with Mahler’s Das Lied von der Erde followed by title role in Massenet’s Hérodiade with Washington Concert Opera, Amneris in Aïda at Pensacola Opera, Margret in the David McVicar production of Wozzeck with the Grand Théâtre de Genève, Ulrica in Un ballo in maschera with Florida Grand Opera, and Verdi’s Requiem with the International Festival Český Krumlov. She began her 2015-2016 season at the Grand Théâtre Genève as Anna in Les Troyens with the Royal Philharmonic Orchestra under Charles Dutoit and as Hippolyta in Britten’s A Midsummer Night’s Dream. She then joined Florida Grand Opera as Adalgisa in Norma, the Tucson Symphony Orchestra for Handel’s Messiah, Tulsa Opera as Dalila in Samson et Dalila, and both Arizona Opera and the Badisches Staatstheater Karlsruhe as Dame Quickly in Falstaff. In addition, she returned to Deutsche Oper Berlin for Mrs. Sedley in Peter Grimes and Azucena in Il trovatore. The 2014-2015 season saw the German premiere of Hans Krasa’s Die Verlobung im Traum at Badisches Staatstheater Karlsruhe in the role of Marja Alexandrowna, and her return to Deutsche Oper Berlin as Dame Quickly in Falstaff, Annina in Der Rosenkavalier, Sonyetka in Lady Macbeth of Mtsensk, Erste Magd in Elektra, and Princess Clarissa in L’amour des trois oranges. Additionally, Ms. Miller joined Washington National Opera for Mary in Der Fliegende Holländer and made her role debut as Azucena in Il trovatore with Knoxville Opera. From 2012 -2014, Ms. Miller was a principal soloist and member of the prestigious ensemble at the Deutsche Oper Berlin. Highlights included her first Erda in two complete Ring Cycles with both Sir Simon Rattle and Donald Runnicles, Dame Quickly in a new Falstaff directed by Christoph Loy, La Cieca in La Gioconda, Mrs. Sedley in David Alden’s Peter Grimes from English National Opera, and Ulricain in Un ballo in Maschera. Additional engagements during those two seasons included Maddalena in Rigoletto with Opera Colorado, Mahler’s Third Symphony with the San Antonio Symphony Orchestra, Mary in Der fliegende Holländer for her debut with both the Berlin Philharmonic Orchestra and the Princeton Festival, and Amneris in Aïda with Tulsa Opera.

Additional career highlights include Dame Quickly in Falstaff with Deutsche Oper Berlin for her European operatic debut, her first Carmen at Boston Lyric Opera, Amneris in Aïda for Arizona Opera, the Foreign Princess in Rusalka at Opera Colorado, Margared in Lalo’s rarely performed opera, Le roi d’Ys, with the American Symphony Orchestra at Avery Fisher Hall, Santuzza in Cavalleria Rusticana with Edmonton Opera and Pensacola Opera, Dulcinee in Massenet’s Don Quichottewith Tulsa Opera, Maddalena in Rigoletto with Florida Grand Opera and San Antonio Opera, Verdi’s Requiem with the Tulsa Symphony Orchestra, the Mother and Witch in Hansel and Gretel with Cleveland Opera and Tulsa Opera, Beethoven’s Ninth Symphony with the Milwaukee Symphony Orchestra and Austin Symphony, Mère Marie in Poulenc’s Dialogues des Carmélites with Austin Lyric Opera, and Stravinsky’s Les Noces with the New York City Ballet at Lincoln Center.

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