In the 24/25 season, Ms. Freedman returned to The Metropolitan Opera for The Magic Flute (Third Lady). On the concert stage, she debuted with the Pacific Symphony as the mezzo-soprano soloist in Verdi’s Messa da Requiem, returned to the Canterbury Choral Society for the same work, and appeared with the Fargo-Moorhead Symphony Orchestra as the title role in the final scene of Carmen for their inaugural Masterworks Series program, Passion.

During the 23/24 season, she returned to The Metropolitan Opera for The Magic Flute (Third Lady) and Un ballo in maschera (Ulrica cover), to The Cleveland Orchestra for staged performances of Die Zauberflöte (Dritte Dame), and to Lyric Opera of Chicago to cover Aida (Amneris). In 22/23, she began the season with a role debut in Un ballo in maschera (Ulrica) at Maryland Lyric Opera, followed by Schubert’s Mass No. 6 with The Cleveland Orchestra at Severance Hall and Carnegie Hall, Messiah with the Santa Fe Symphony, and a return to The Metropolitan Opera to cover Aida (Amneris).

Previous seasons include a role and house debut at Virginia Opera in Das Rheingold (Fricka), a role and house debut at The Atlanta Opera in the title role of Julius Caesar, a return to The Metropolitan Opera for The Magic Flute (Third Lady) and to cover Don Carlos (Princess Eboli) in the new David McVicar production, and a return to Washington National Opera for the world premiere of Kamala Sankaram’s Rise (Powerful Woman/Adelaide Johnson). In the summer of 22, she made her debut at the Salzburger Festspiele in a new Christoph Loy production of Suor Angelica (Suor Dolcina) conducted by Franz Welser-Möst. Concert performances from this period include a debut with the Erie Philharmonic in Mahler’s Symphony No. 2 and a return to the Fairfax Symphony for Beethoven’s Symphony No. 9.

Additional career highlights include a debut with the Fargo-Moorhead Symphony Orchestra in Das Lied von der Erde; Cavalleria rusticana (Santuzza cover) in a new Robert Carsen production at Dutch National Opera; a role and house debut at Opera San José in Il trovatore (Azucena); her Metropolitan Opera debut in Die Walküre (Schwertleite); returns to The Cleveland Orchestra for staged performances of Ariadne auf Naxos (Dryad); a cover of Cavalleria rusticana (Santuzza) at San Francisco Opera; debuts in Die Walküre (Schwertleite) at Théâtre du Capitole de Toulouse and Aida (Amneris) with Opera Idaho; and concert debuts with the National Symphony Orchestra in Bernstein’s Songfest, the Quad City Symphony and Fairfax Symphony in Verdi’s Messa da Requiem, and returns to the Santa Fe Symphony and Boise Philharmonic for Handel’s Messiah. She also made her Wagnerian role debut in Der fliegende Holländer (Mary) with Sarasota Opera, where she later appeared in Rimsky-Korsakov’s Le coq d’or (Amelfa) and Lucia di Lammermoor (Alisa).

A graduate of the Cafritz Young Artist Program at Washington National Opera, Ms. Freedman appeared there in Don Carlo (Princess Eboli), Hansel and Gretel (Gertrude), Better Gods (Lili’uokalani), Der Ring des Nibelungen (Rossweisse), Dead Man Walking (Jade Boucher), and Le nozze di Figaro (Marcellina).

2025-2026