Over the Brow of the Hill, Calvin Bowman song cycle, Adelaide Festival
“….Gordon-Stewart provided colourful interpretations and a commanding presence for Bowman’s work”.
Rodney Smith, The Advertiser, March 11 2017
Wozzeck and Beethoven 9, Sydney Symphony Orchestra
“…Miriam Gordon-Stewart, was here an excellent Marie, warm and sympathetic and vocally ringing out over the orchestra”.
Clive Paget, Limelight Magazine February 2015
“Miriam Gordon-Stewart shines as Desdemona, conveying innocence with grace. Her sense of foreboding and resignation towards her plight culminate in an exquisite and moving Willow Song and Ave Maria. Her voice is wonderfully controlled, and shaded with a maturity that, at no cost to her musicality, suggests there are more complex roles in the future.”
Limelight Magazine, Gordon Forester , October 27, 2014
In the rescue scene, both vocally and dramatically, Miriam Gordon-Stewart delivered a truly powerful, blazing Leonore”
Oper und Tanz 2014 ..
“Miriam Gordon-Stewart’s Suor Angelica is a brilliant accomplishment. Her singing is gentle, full of love and hope and at the same time loud and lamenting, desperate and dramatic.”
Federika Arns – Operapoint 4.6.12
Australian soprano Miriam Gordon-Stewart's debut as Sieglinde for Opera Australia was described as "astonishing" with "a powerful voice which radiates joy...her exultant "O hehrstes Wunder" is a heartbreaking cry of desperate hope" (Michael Magnusson - Arts Hub). Miriam has most recently returned to the Deutsche Oper, Berlin for performances of Gertrud in Hänsel und Gretel under the baton of Donald Runnicles, performed Leonore (Fidelio) on location at the former political prison in Cottbus, Germany, and the title role in Tosca for Staatstheater Kassel as well as making her role debut as Desdemona in Otello with State Opera of South Australia. In 2013, Gordon-Stewart triumphed as Alice in Falstaff for Korean National Opera- the production was broadcast nationally on KBS TV.
This year Miriam returned to Australia to perform the world premiere of Calvin Bowman’s song cycle Over the Brow of the Hill, to great acclaim, at the Adelaide Festival. She made a long awaited debut as Isolde in the 2nd Act of Tristan und Isolde in Virginia. In 2015 Miriam made her debut with the Sydney Symphony Orchestra in Beethoven 9 and Wozzeck 3rd Act (Marie) conducted by David Robertson. In 2016, she made her debut as the Marschallin in Der Rosenkavalier for Victory Hall Opera, in Charlottesville, Virginia, where she also continues as Artistic Director, and performed as the Virgin Mary in Elgar’s The Kingdom for Melbourne Bach Choir. In recital, Gordon-Stewart performed an all-American program in Melbourne and Adelaide.
This concert left no doubt that she is a singer of formidable vocal ability and dramatic range. Gordon-Stewart’s splendid voice is very powerful but also capable of expressing delicacy and vulnerability, a flexible and very versatile instrument indeed…no less impressive was the sense that she conveyed of disarming honesty and emotional insight in her performances.” Steven Whittington, The Advertiser, May 1 2016.
Described in the French press as “phenomenal” and “a genuine singer-actress” for her Châtelet debut, she was a resident soloist with the Hamburg Staatsoper from 2005-2009. There her roles included Jenufa in Jenufa, Madame Lidoine in Dialogues des Carmélites, Alice Ford in Falstaff, Micaëla in Carmen, Rosalinde in Die Fledermaus, Helena in A Midsummer Night’s Dream, the Countess in Le Nozze di Figaro, Elettra in Idomeneo, Donna Elvira in Don Giovanni, Mimi in La Bohème, Liù in Turandot, Arabella in Arabella, Freia in Das Rheingold and Helmwige in Die Walküre in the premiere of Hamburg’s new Ring Cycle.
Guest engagements have taken her to the Deutsche Oper Berlin as Alice, Mannheim National Theatre and Staatstheater Kassel as Eva in Die Meistersinger von Nürnberg, Graz and Wuppertal Opera as Arabella, and the Gran Teatre del Liceu. Miriam presented Ellen Orford in Peter Grimes and the title role of Tosca at the Bremerhaven Opera, Zemlinsky’s Lyric Symphony in Lisbon and Elsa in Lohengrin at the Kassel State Theatre. She has had further concert engagements in Kassel and with the Orquestra Gulbenkian in Lisbon, and with the Dresden Philharmonic singing Britten’s War Requiem.
As a member of Opera Australia in Sydney from 2001 to 2005, Miriam debuted the roles of Donna Anna in Don Giovanni, Eva, Miss Jessel in The Turn of the Screw, Rosalinde and Mimi. She also collaborated with Simone Young and Orchestra Victoria in a live broadcast of Strauss’s Four Last Songs.
In 2009, Miriam launched her freelance career with a debut in the Bayreuth Festival as Helmwige under the baton of Christian Thielemann. She also was praised as “dramatically phenomenal” (Frankfurter Rundschau) in the challenging lead role of Rosine Kampf in the World Premiere of Oscar Strasnoy’s Le Bal in Hamburg, where she also appeared as a guest for performances of Hanna Glawari in Die lustige Witwe. Further engagements have included her return to Hamburg as Betty Joy in Bliss, Suor Angelica in Sebastian Baumgarten’s premiere of Il Trittico at the Niedersächsische Staatsoper, Hannover and Leonore (Fidelio) for State Opera of South Australia.
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