Young Soprano Ashley Becker recently sang the role of Tatyana in Tchaikovsky’s Eugene Onegin with the Russian Opera Workshop in Philadelphia, PA and was a Professional Fellow with Songfest in Los Angeles. Other recent performances include Janacek’s Jenufa with Opera Slavica, Francesca in Francesca da Rimini the the Russian Opera Workshop, excerpts from Un ballo in Maschera (Amelia) at the Liederkranz Club with the Martina Arroyo Foundation Role Preparation Class and excerpts from Previn’s A Streetcar Named Desire as Blanche with One World Symphony. Ms. Becker has also performed excerpts from Otello (Desdemona) and Madama Butterfly (Cio-Cio San) with One World Symphony and toured Quebec with the Montreal West Operatic Society, singing Angelina in Trial by Jury.
Ashley has performed with the Alabama Symphony Orchestra as a featured performer in their Young People’s Concerts series, as well as in outreach concerts with the North Carolina Symphony Orchestra, with the Rapides Symphony Orchestra, and as a soloist with the Choeur Classique de Montreal. Ashley has been an apprentice at the Seagle Music Colony, Summer Opera Lyric Theatre, Opera New Jersey, the Opera Company of North Carolina (outreach), and Shreveport Opera.
Other roles in Ms. Becker’s repertoire include Madame Lidoine in Dialogues des Carmélites, Hanna Glawari in The Merry Widow, and Elettra in Idomeneo.
Ms. Becker has also performed as the soprano soloist for Mendelssohn’s Lobegesang, Mahler’s Resurrection Symphony, Mozart’s Requiem, Vivaldi’s Gloria, and excerpts from Handel’s Messiah. Ashley holds a B.Mus in Vocal Performance and a M.Mus in Solo Song from McGill University and a recording featuring Ms. Becker as the soprano soloist in Mahler’s Resurrection Symphony was issued by McGill Records in 2009.
Ashley has additionally earned recognition in a variety of competitions including second place in the Student division of the Orpheus Music Competition, third place in the New England Region Metropolitan Opera National Council Auditions, and first place in the Young Artists Division of the Charles A. Lynam Competition.
Suggested Operatic Repertoire
|L. van Beethoven||Fidelio||Fidelio|
|A. Dvorak||Rusalka||Foreign Princess|
|Kata Kabanova||Kata Kabanova|
|La Clemenza di Tito||Vitellia|
|Die Zauberflöte||Erste Dame|
|R. Strauss||Ariadne auf Naxos||Ariadne|
|Die Frau ohne Schatten||Die Kaiserin|
|G. Verdi||Un ballo in maschera||Amelia|
Russian Romances Recital, Russian Opera Workshop, Philadelphia, PA, 2013
“Ashley Becker, another fine soprano, presented “The harvest of sorrow” and “The pied piper,” both by Rachmaninov. Becker’s vocal coloration is already well-developed, and as soon as she spoke, this reviewer wanted to hear her sing Puccini as well as Russian works; it was no surprise to discover after the performance that she has already begun including Puccini in her repertoire.”
– M. Rogers, BroadwayWorld.com (6/30/13)
A Streetcar Named Desire, One World Symphony, New York, 2013
“Soprano Ashley Becker aired out the moody intensity of two songs from Andre Previn’s score to A Streetcar Named Desire: the uneasy Sea Air, and a sultry take of I Want Magic.”
– Lucid Culture, 2013
Jenufa, Opera Slavica, New York, 2012
“Ashley Becker, the soprano who sang Jenufa, brought a lovely, fully supported sound and thoughtful, nuanced phrasing to the role”
– A. Kozinn, The New York Times (9/2/12)
Dialogues des Carmelites, Opera in Concert, Toronto, 2007
“Opera in Concert was rewarded with a sold-out house Nov. 19 for its risky performance of Poulenc’s Dialogues des Carmelites…Bayrakdarian had committed support from mezzo Lynne McMurtry (Madame de Croissy), Ashley Becker (Madame Lidoine), soprano Deanna Hendriks (Sister Constance), baritone Bryan Estabrooks (Marquis de la Force) and tenor Stephen Ericson (Chevalier de la Force)…it was theatrically and musically engaging right up to that remarkable ending (no less devastating here than with full orchestral forces).”
– Littler, William; Citron, Paula; Gooding, Wayne; So, Joseph, Opera Canada
Idomeneo, McGill Symphony Orchestra, Montreal, 2004
“Ashley Becker, dont le costume fait irrésistiblement songer à ces créatures bizarres sorties de la Guerre des Étoiles, ne fait qu’une bouchée du rôle complexe et souvent caricaturé d’Elettra ; une interprétation toute en finesse et un legato intéressant compensent une émission parfois un peu métallique (ce qui n’est pas nécessairement en contradiction avec le rôle par ailleurs). ”
– R. Bourdot, Forum Opera (1/31/04)