Christine Arand

Review Excerpts
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Christine Arand began her professional career in Europe creating the leading role of Lise in Les Enfants Terribles by Philip Glass. The production toured to major European venues, including the Acropolis in Athens, and later continued its run at the Brooklyn Academy of Music, Spoleto USA, San Francisco, and Los Angeles. The opera, the third in Glass’ “Cocteau Trilogy” was released in 2005 on Harmonia Mundi OMM label. She made her British debut as Salomé in Massenet’s Hérodiade with Dorset Opera, and returned to sing Liu in Turandot. Recent engagements have included Cecilio in Lucio Silla with Chicago Opera Theatre; Armida in Rinaldo with Operamission in New York City; and Antonia in Les contes d’Hoffmann with Hawaii Opera Theatre.

Ms. Arand made her debut at the Chatelet in Paris alternating the roles of the Baroness and Maria in the Sound of Music; as well as Eliza Doolittle in My Fair Lady. She made her Carnegie Hall debut in the world premiere of David N. Childs’ Requiem; and was heard in Carmina Burana and Mozart’s Requiem with the National Chorale; and Carmina Burana with Fort Wayne Philharmonic.

Described as “an up-and-coming diva” by The New York Times, Ms. Arand made her Broadway debut as Musetta in Baz Luhrmann’s acclaimed production of La bohéme. She followed this with another featured role on Broadway as Maria in the Tony Award Winning Best Musical Revival Nine at the Eugene O’Neill Theatre.  With Lincoln Center Theater, she was the legendary chanteuse, Yvette Gilbert, in the play, Belle Époque, about the life and loves of Toulouse Lautrec, and with City Center Encores! in Kismet.

Ms. Arand’s broadway triumphs were preceded  by notable operatic portrayals beginning with Gilda in Rigoletto, and Violetta in La traviata, at the new Kimmel Center for the Performing Arts in Philadelphia; Susanna in Le nozze di Figaro with Arizona Opera and Ft. Worth Opera; Agrippina in Palermo; Nanetta in Falstaff for the Pine Mountain Music Festival; Tiny in Mark Lamos’ production of Paul Bunyan with Glimmerglass Opera; and covering Zdenka in Arabella for San Francisco Opera.

Ms. Arand received a scholarship to Northwestern University where she earned degrees in both music and painting.  A Fellowship to the Juilliard Opera Center brought her to New York. Ms. Arand first gained critical notice as Poppea in Frank Corsaro’s production of L’incoronazione di Poppea. She brought distinction to such roles as Baby Doe in The Ballad of Baby Doe, Laurie in The Tender Land, and again in Corsaro’s new production of Le nozze di Figaro as Cherubino. While at Juilliard, several premieres including the U.S. premiere of Tan Dun’s Lament: Autumn Wind, and the world premiere performance of Menagerie by Courtney Evans. In addition, she was a finalist in the Metropolitan Opera National Council Auditions.


Review Excerpts

“Christine Arand’s polished soprano and fluent acting conveyed Poppea’s sensuality as well as her steely resolve.”
The New York Times

“Christine Arand proved a riveting actress whose intricate moves were mirrored by the dancers…Her grand soprano soared over all.”
The Post and Courier, Spoleto Festival, North Carolina

“was one of the evening’s most intensely beautiful moments.”
San Francisco Chronicle

“Christine Arand’s Violetta was appropriately slender and pretty, and she telegraphed the iciness of the doomed character as a kind of emotional self-protecting moat…The extended duet in Act 2 was a showcase for the exciting voices of Harris and Arand.”
City Paper, Philadelphia

“Christine Arand took on Liu … full of touching pathos and lyric poignancy.”
Opera Now

“To single out, the most impressive performers…Christine Arand, a soprano in the Cantata Number 2.”
The New York Times

“Christine Arand, who sang Lise, was clear-voiced, but her great authority lay in her stage presence, she prowled like a calculating tigress, engineering a fatal deception with icy zeal.”
The Washington Post

“delightful as Cherubino!”
The New York Times

“Its centre was correctly the Poppea of Christine Arand, convincingly sexy in a slatternly way.”
Opera Magazine

“That left Christine Arand, an up-and-coming diva who has sung on Broadway in “La Bohème” and “Nine” to showcase the academy alone. As she sang selections from “La Boheme” and “La Traviata,” Ms. Scotto, seated nearby, appeared to hang on every note.”
The New York Times

“With Glass among the keyboard accompanists, soprano Christine Arand shines as Lisa …”
The Observer

“Soprano Christine Arand was exquisite; her Marguerite was an unaffected beauty with dew on virgin cheeks in “Il etait temps…il se fait tard” from Gounod’s Faust…She also gave us and innocent Mimi in Puccini’s La Boheme and sang Laurie’s Song from Aaron Copland’s The Tender Land with heart-breaking transparency.”
Woodstock Times, New York

“was a swank and saucy Musetta.”
The Seattle Times

“the drama’s mesmerising music is supported by the powerful vocals of Christine Arand” Revolution Classical

“Soprano, Christine Arand, as his beloved Susanna equals him not only in vocal beauty but also in agile, energetic stage action.”
Star-Telegram, Ft. Worth

“…Christine Arand, who brought pearly tone to this demurely lovestruck Salome.”
Sunday Telegraph, London

“Christine Arand sang Hérodiade’s mislaid daughter with a proper combination of sweetness and nascent appeal, something that was not lost on the sexually obsessed playboy Hérode of Franco Pomponi…”
Opera Magazine