An interview with critically
acclaimed soprano Rachel Cobb
about how she uses EFT
by Marie Holliday
www.eftspain.com
Hailed as “fiercely dra- matic” (The London Times)
having presented “one of the best impersonations I have seen” (Opera Magazine) and possessing a “pure so- prano [with] charm and fra- gility” (Classical Voice) and “real vocal thrust” (Opera News), American soprano Rachel Cobb has earned critical acclaim in the Unit- ed States and Europe as a total performer with incred- ible dramatic intensity.
image courtesy of
www.rachelcobbsoprano.com
Past engagements for
Ms.Cobb include Miss Jessel in Glyndebourne’s pro- duction of The Turn of the Screw, as Mimì for the Duluth Festival Opera, Op- era on the James and in Opera Pacific’s production of La Boheme, The Merry Widow with Opera on the James, Cio-Cio San in Panama, Donna Anna in Don Giovanni with Madison Opera and the Westfield Symphony, as Pallade Ath- ena in Gluck’s Paride ed Elena with The Caramoor Festival, Fiordiligi in Cosi fan tutte, Beauty in Giannini’s Beauty and the Beast with Baltimore Opera and Kitty Hart in the Opera Pacific production of Dead Man Walking.
Other notable roles in her repertoire include Rosalinde in Die Fledermaus, Tatiana in Eugene Onegin, Nedda in Pagliacci, Marguerite in Faust, Micaëla in Carmen, and Countess in Le nozze di Figaro.
Ms. Cobb has also achieved success on the concert stage in appearances with the Fairbanks Symphony in performances of the Verdi Requiem and in Washington D.C. with Strauss’ Four Last Songs.
Ms. Cobb was a first prize winner of the Farwell Award in Chicago, a Licia Albanese-Puccini Foundation International Vocal Competition Grant Winner, and a two-time finalist in the highly esteemed Loren L. Zachary Competition.
14 AAMET LIFE AUTUMN 2012
www.aamet.org
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