Tonna Miller

Suggested Operatic Repertoire
Review Excerpts

Hailed by the New York Times as “fresh” and “sweet-toned,” and described in Opera News as having a “sugar-tipped soprano,” Tonna Miller is recognized for her “flesh and blood” performances and “natural stage presence.”  Equally at home in the major opera houses of America and on Broadway, Ms. Miller was recently heard at the Metropolitan Opera as Barbarina in Le nozze di Figaro and as the fiery Carlotta Giudicelli in Sir Andrew Lloyd Webber’s Phantom of the Opera for her Broadway debut.  Ms. Miller has been heard as Fortuna in L’incoronazione di Poppea for her Los Angeles Opera debut; in the title role in Patience with New York City Opera; with Houston Grand Opera as Jano in Jenufa and Papagena in Die Zauberflöte; as Nannetta in Falstaff with Glimmerglass Opera, as Naïade in Ariadne auf Naxos with Santa Fe Opera; and as Sophie in Der Rosenkavalier with Michigan Opera Theatre.

As a frequent artist with New York City Opera, she has been heard as Yum-Yum in The Mikado, Papagena in Die Zauberflöte, Frasquita in Carmen, Helen Niles in Mourning Becomes Electra and as Johanna in Sweeney Todd, where she was recognized as having a “lovely, clear voice” and “connect[ing] with her character’s virginal, conflicted proclivities.” 

With Opera Theatre of St. Louis, she has performed Wanda in Offenbach’s La Grande-Duchesse de Gerolstein, Polissena in Handel’s Radamisto, and Euridice in Monteverdi’s The Tale of Orpheus.  Ms. Miller has sung many recitals for Opera Theatre of St. Louis and has received two career grants from its Richard Gaddes Fund for Opera Singers. 

Other notable performances have included Aline in The Sorcerer and Offenbach operettas with Bard Summerscape; Susanna in Le nozze di Figaro with the New Jersey Symphony Orchestra; Vespina in Haydn’s L’infedeltá delusa with the American Symphony Orchestra; Johanna in Sweeney Todd  and Adele in Die Fledermaus with Toledo Opera; Josephine in H.M.S. Pinafore and Yum-Yum with Augusta Opera; both Josephine and Clorinda in La cenerentola for Nashville Opera; Carmina Burana with the Madison Symphony; and Handel’s 
Messiah with the Handel & Haydn Society and the Pacific Symphony.  Ms. Miller has also performed Singer #1 in Conrad Susa’s controversial 1973 opera, Transformations, La Princesse in L’Enfant et les sortilèges, Lauretta in Gianni Schicchi, Adina in L’Elisir d’amore, Mary Warren in The Crucible and Sofia in Il Signor Bruschino

Ms. Miller has many awards to her credit that include finalist at the Birgit Nilsson Competition; winner of the Fred Mathias Award and finalist at the MacAllister Awards for Opera Singers; grant winner at the Licia Albanese-Puccini Foundation competition; and regional finalist in the Metropolitan Opera National Council Auditions.


Suggested Operatic Repertoire

BrittenAlbert HerringMiss Wordsworth
BrittenA Midsummer Night's DreamTytania
Britten/BrookThe Rape of LucretiaLucia
DonizettiDon PasqualeNorina
DonizettiL'Elisir d'amoreAdina
GluckOrfeo de EuridiceAmor/Ombra Felice
HumperdinckHänsel und GretelGretel/Sandman/Dewman
MonteverdiLa favola d'OrfeoEuridyce
Moorethe Ballad of Baby DoeBaby Doe
MozartLa clemenza di TitoServillia
MozartCosí fan tutteDespina
MozartDon GiovanniZerlina
MozartDie Entführung aus dem SerailBlondchen
MozartLe nozze di FigaroSusanna/Barbarina
MozartDie ZauberflötePamina/Papagena
OffenbachLes contes d'HoffmanOlympia
PoulencDialogues of the CarmelitesConstance
RavelL'Enfant et les sortilegesFire/Princess/Nightingale
RossiniLa cenerentolaClorinda
RossiniIl Signor BruschinoSofia
SondheimSweeney ToddJohanna
Strauss, J.Die FledermausAdele
Strauss, R.ArabellaFiakermilli
Strauss, R.Ariadne auf NaxosZerbinetta/Naiade
Strauss, R.Der RosenkavalierSophie
SullivanH.M.S. PinaforeJosephine
SullivanThe MikadoYum-Yum

Review Excerpts

Opera Pacific – L’Elisir d’amore
“Soprano Tonna Miller, another Texas native, was a charming and flirtatious Giannetta, singing with an assured purity.”
Press-Telegram, April 14, 2007

“Tonna Miller made a strong Giannetta, the lusty, red-haired waitress at Adina’s diner.”
Los Angeles Times, April 14, 2007

Bard Summerscape – Ba-ta-clan/L’île de Tuliptan/Les Deux Aveugles
“The women in the cast held up their end of things linguistic far better than did the men, also producing more attractive tone. As the disguised Frenchwoman in China Fé-An-Nich-Ton and the supposed “prince” Alexis, Tonna Miller brought her lithe high soprano, some dynamic variety and moments of genuine feeling to the proceedings.”
Opera News, October 2006

New York City Opera – Patience
“As Patience, Tonna Miller combined the blank innocence the part requires with the secure vocalism of a coloratura soprano.”
Newsday, September 14, 2005

“Cast as the opera’s lone “non-Aesthetic” lady, Tonna Miller delivered a comely Patience, adroit in her dialogue scenes with Ball and Burdette”
Opera News, December, 2005

Silicon Valley Symphony – Poulenc: Gloria
“The single soloist, soprano Tonna Miller, made an indelible impression, flowing seamlessly through angular melodies full of leaping intervals, the sort of writing that would easily reveal difficulties across registers in a less gifted singer. Miller is a rising star, looking every bit the youthful soubrette, but with a formidable and mature instrument. She made the challenge sound easy.”
Metro News, December 15, 2004

Opera Festival of New Jersey – L’italiana in Algeri
Soprano Tonna Miller, with a light and buttery coloratura, is Elvira, Mustafa’s cast-off wife.
The Star-Ledger, July 1, 2003

Opera Colorado – Sweeney Todd
“Tonna Miller’s bright soprano voice in her role as Johanna gives Sweeney some of its few sweet and innocent moments.”
Colorado Daily, April 29, 2003

Toledo Opera – Sweeney Todd
“The petite soprano Tonna Miller lent a sense of flesh and blood to the emotionally off-kilter Johanna.”
American Record Guide, March/April 2003

Opera Theatre of St. Louis – La Grand-Duchesse de Gerolstein
“Strongest of the supporting cast …Tonna Miller, whose sugar-tipped soprano and wide blue eyes made her a picture-perfect Wanda.”
Opera News, September 2001

Opera Theatre of St. Louis – Radamisto
“Tonna Miller (as Polissena, Tiridate’s wife) handled her music expertlyand acted convincingly.”
The Wall Street Journal, July 5, 2000

Glimmerglass Opera – Falstaff
“Tonna Miller, a young soprano from the Young American Artists’ wing, turned in a vocally beautiful Nanetta, graced by a natural stage presence.”
Times Union, July 4, 1998

“The best performance, though, came from Tonna Miller as Nanetta. She looked adorable and sang with ardor and a firm grasp of Verdian line.”
The Syracuse Post-Standard, July 9, 1998

“[Tonna Miller] was entrusted with the most ravishing music of the whole opera, S’il d’un soffio estio, and she floated with equal grace through the love music of Act II.”
The Ithaca Times, July, 1998

Opera Theatre of St. Louis – The Tale of Orpheus
“Soprano Tonna Miller sounded fresh as an Aegean breeze, as Orfeo’s now-you-see-her, now-you-don’t paramour.”
St. Louis Post-Dispatch, July, 1997

“Eurydice was Tonna Miller, a soprano whose loveliness of timbre was matched by beguiling ardor.”
The Plain Dealer, July 6, 1997

“There was much to admire in Tonna Miller’s fresh, sweet toned performance…”
The New York Times