American mezzo-soprano Avery Amereau has rapidly drawn international attention for her remarkably rich mezzo and commanding stage presence. Praised for her‘rapturous lyricism’, she is equally in demand across the top opera houses and orchestras of the US and Europe.
In the 2026/27 season, Amereau makes several significant role debuts, including as Orphée in Pina Bausch’s Tanzoper Orphée et Eurydice and Ino Semele for the Bayerische Staatsoper, as well as Lichas Hercules in her return to the Royal Ballet & Opera. In concert, Amereau makes debuts as the title role in Dido and Aeneas with Boston Baroque (Lionel Meunier) and Dejanira Hercules with Opera Fuoco at Theater an der Wien (David Stern), and makes her debut with Il Pomo d’Oro on a US tour of Dido and Aeneas as Sorceress (Maxim Emelyanychev).
On the concert platform this season, Amereau makes debuts with the LA Philharmonic in Bernstein’s Symphony No. 1 (Daniel Harding), Ann Arbor Symphony in Mozart’s Requiem and Brahms’s Alto Rhapsody (Earl Lee), and with Mercury Chamber Orchestra led by Thomas Dunford in a recital of Handel & Vivaldi.
In 2022, Amereau made her house and role debut as Dorabella in a new production of Mozart’s Così fan tutte conducted by Vladimir Jurowski for the Bayerische Staatsoper, later joining the ensemble in Munich from the 2023/24 season. Her association with the house includes notable debuts in new productions of the Da Ponte trilogy, including Zerlina Don Giovanni and Cherubino Le nozze di Figaro, as well as new productions of Alcina as Bradamante and Leda in Strauss’s Die Liebe der Danae.
Other operatic highlights include her house debut at the Royal Ballet and Opera as Olga in a new production of Tchaikovsky’s Eugene Onegin directed by Ted Huffman, the title role in Bizet’s Carmen with the Jacksonville Symphony, Cherubino Le Nozze di Figaro with Orchestre symphonique de Montréal, Didon Les Troyens and Marguerite La Damnation de Faust with the Boston Youth Symphony Orchestra, Irene Theodora on tour with Thomas Dunford and Ensemble Jupiter, and Serena Joy in Ruders’s The Handmaid’s Tale for English National Opera. Amereau has also appeared with Santa Fe Opera, Opéra de Lille, Opéra de Lyon, Grand Théâtre de Genève, Seattle Opera, as well as at the Glyndebourne and Salzburg Festivals.
Highly sought after on the international concert stage, Amereau’s recent engagements include Elgar’s Sea Pictures with the Cleveland Orchestra (Daniel Harding); her Tanglewood Festival debut singing Berlioz’s Les Nuits d’été with the Boston Symphony Orchestra (Dmitri Slobodeniouk); Mozart’s Requiem with the Chicago Symphony Orchestra (Manfred Honeck); Mahler’s Symphony No. 2 with the Swedish Radio Orchestra (Daniel Harding); Bach’s Christmas Oratorio with Orchestre Symphonique de Montréal (Leonardo García Alarcón), Orchestra of St. Luke’s & Philharmonia Baroque Orchestra (Richard Egarr); St. John Passion with the Seattle Symphony (Nicholas McGegan); Das Paradies und die Peri with the Czech Philharmonic Orchestra (Daniel Harding); and Ravel’s Shéhérazade with the Jacksonville Symphony.
A regular interpreter of Mozart’s Requiem, her recent performances include engagements with the Boston Symphony Orchestra (Dima Slobodeniouk), Cleveland Orchestra (Franz Welser-Möst), Barcelona Symphony (Trevor Pinnock), Chicago Symphony Orchestra (Manfred Honeck), and Kansas City Symphony (Bernard Labadie). Amereau has sung Handel’s Messiah with the National Arts Centre Orchestra (Bernard Labadie), Handel & Haydn Society (Jonathan Cohen & Václav Luks), St. Paul Chamber Orchestra (Paul McCreesh), Nashville Symphony, Ann Arbor Symphony Orchestra, Saint Thomas Church in New York City, and on tour with Collegium 1704 (Václav Luks).
As a recording artist, Amereau appears as the Sorceress in Purcell’s Dido and Aeneas with La Nuova Musica for the Pentatone label and in Caroline Shaw’s The Listeners with the Philharmonia Baroque Orchestra on their own label. Avery’s first solo album of Handel arias with Nicholas McGegan and the Philharmonia Baroque Orchestra, selected as Editor’s Choice in Gramophone magazine, was released in 2020 to huge critical acclaim.
