San Francisco Chronicle
“Mezzo-soprano Irene Roberts gave a fine, tonally resplendent company debut as Giulietta.”
New York Times
“…we meet the courtesan Giulietta, here the vocally plush and lovely mezzo-soprano Irene Roberts.”
South Florida Classical Review
“A real strength of the performance throughout were the multiple roles juggled by Irene Roberts. She brought a gleaming mezzo and seamlessly phrased singing to the roles of Hoffmann’s servant Nicklausse, The Muse and Antonia’s Mother. Whether performing with subtle comedic timing as Hoffmann’s male servant or as the demanding Muse urging him to forgo love for literature, she was a vivacious, charismatic stage presence.”
Atlanta Journal Constitution
“Irene Roberts as Rosina shines early on in the star-turn aria “Una Voce Poco Fa,” but her voice actually becomes even richer and more alluring in its lush suppleness as the performance progresses: she handles the careening turns of the part with agility and ease. Though nowadays Rosina is often played by a high soprano, the part was actually written for a mezzo such as Roberts, and her performance is an object lesson in why that voice type is so fitting. There’s a lusty richness in what she brings to the role that a high and pure soprano never could impart in just the same way. She can sound languorous and sugary, but just as quickly she can adopt speed and drama, even a touch of viciousness (Rosina promises to become a viper if she’s double-crossed after all: this is no cloistered, passive ingénue).”
American Mezzo-soprano Irene Roberts continues to enjoy international acclaim as a singer of exceptional versatility and vocal suppleness. She has a close relationship with the Deutsche Oper Berlin where her many roles have included the title in Carmen, Marguerite in La Damnation de Faust, Nicklausse in Les Contes d’Hoffmann, Fenena in Nabucco, and Dulcinée in Don Quichotte. She recently made her debuts at the Dutch National Opera as Nicklausse, Teatro la Fenice in Venice as Amneris in Aida, and the Macerata Opera Festival in Carmen.
Roberts also has a close relationship with the San Francisco Opera where she made her debut in Les Contes d’Hoffmann in 2013. She has since returned as the title role in Calixto Bieto’s US debut production of Carmen, and in the world premiere of Bright Sheng’s Dream of the Red Chamber. Recent engagements have included Le nozze di Figaro and Parsifal at the Metropolitan Opera, Don Giovanni, Madama Butterfly, Les Contes d’Hoffmann, and Ariadne auf Naxos at Palm Beach Opera, L’Italiana in Algeri with Lyric Opera of Kansas City, Marschner’s Der Vampyr at New Orleans Opera, Il barbiere di Siviglia with Atlanta Opera, and Gounod’s Faust with Lyric Opera Baltimore.
On the concert stage, Roberts embarked on a five-city tour of France in May of 2017 with the Orchestre national d’Île-de-France as soloist for Rossini’s Stabat Mater under the baton of Enrique Mazzola. Roberts made her debut at London’s Wigmore Hall in 2016 in recital with tenor Bryan Hymel and pianist Julius Drake. Previous concert engagements include performances with Gustavo Dudamel and the Los Angeles Philharmonic at the Hollywood Bowl, Miami’s New World Symphony led by Joshua Gersen, and at the US Naval Academy for its annual holiday presentation of Handel’s Messiah.
This season, Roberts returns to the Deutsche Opera Berlin for Carmen, Hansel und Gretel, Die Fledermaus, Nabucco, and Mark-Anthony Turnage’s Greek. She also returns to the San Francisco Opera as Dorabella in Cosi fan Tutte and makes her debuts at the Opera National de Lorraine and the Opera de Dijon as the title role in Philippe Boesmans’ Julie.
Roberts studied at the University of the Pacific and the Cleveland Institute of Music, and is a graduate of the young artist program at Palm Beach Opera. She won 2nd prize in the Advanced Division at the 41st Annual Palm Beach Opera Vocal Competition and was a finalist for the 2014 Richard Tucker Career Grant.