Anne Marie Lewis’ voice is a treat for the ears . . . .
Anne Marie Lewis has received acclaim for her clear soprano and powerful stage presence. An intelligent performer with wide-ranging talent, her opera and concert performances have taken her all across the United States: Carnegie Hall, Boise Philharmonic, Arkansas Symphony, Lyric Opera Cleveland and the Pine Mountain Music Festival as well as many more orchestras and opera companies in the midwest.
Of her portrayal of Annina in Johann Strauss' One Night in Venice, the Chicago Tribune said she “supplies vocal suppleness and grace where needed, yet steals the show's funniest moments the way she tipsily responds to the Duke's advances.” The Chicago Sun-Times referred to her as a “gifted actress” with a voice “so pure and melodious.” Ms. Lewis’ comic timing and vocal appeal have lead to great success in light opera including Rosalinda (Die Fledermaus), Gretchen (The Red Mill), and Phyllis (Iolanthe).
In operatic repertoire, Ms. Lewis is a sought-after Micaëla: “If Carmen steals Don Jose from his hometown girl, Micaëla, in turn, stole audience hearts Saturday, as sung by Anne Marie Lewis. Lewis’ singing was all luster, innocence and heartbreak…” (Ann Arbor News). Her other operatic roles include Mimi, Musetta, Nedda, Countess (Le nozze di Figaro), Fiordiligi, and Donna Elvira performed with such companies as the Chicago Opera Theater, Chamber Opera Chicago, Lyric Opera Cleveland, Opera Theater Highland Park, Light Opera Works, Muddy River Opera, DuPage Opera Theatre, American Opera Group, Bowen Park Opera, da Corneto Opera Ensemble and Lincoln Opera. Under the baton of John McGlinn, she portrayed Lady Plymdale in Noël Coward's After the Ball for the Chicago Humanities Festival X Benefit Concert at the Auditorium Theatre. In her work with Chicago Opera Theater, she appeared in the Chicago premiere of Daron Hagen’s Shining Brow directed by Ken Cazan.
Her versatility extends to the concert stage as well: Brahms’ Ein deutsches Requiem with the Sheboygan Symphony Orchestra and the Evanston Symphony; Beethoven's Symphony No. 9 with the Boise Philharmonic, the Illinois Chamber Orchestra and the Sheboygan Symphony; Berlioz’s Les nuits d’été with the North Suburban Symphony; and Flower of the Mountain by Stephen Albert with the University of Chicago Chamber Orchestra.
Ms. Lewis’ recent engagements include Mary Elliot Musgrove in a newly revised musical adaptation of Persuasion by Jane Austen with Chamber Opera Chicago and Micaëla in Carmen with the West Suburban Symphony Orchestra under the direction of Peter Lipari. She is currently creating a show to highlight the music of Engish composer Liza Lehmann (1862 - 1918), whose works deserve much more attention.