Photos
photo credits
Click on the above image of your choice to save a high resolution version. Photo Credits: Top two photos by Rick Stockwell; Bottom four images by Lori Pedrick.
Short Bio
Hailed as “brilliant” by the Berliner Morgenpost and “clearly a singer to watch” by The New York Times, Jazimina is a mezzo-soprano and creative catalyst rooted in the beautiful Monadnock region of New Hampshire. Recent projects include Geliebte Freunde, an interweaving of Brahms’ and Clara Schumann’s songs and letters, Danika the Rose, a bespoke fairytale written in collaboration with the inimitable Odds Bodkin which melds storytelling with Dvorak’s tender Moravian Duets, and Love Like Water, an orchestral fable recounting the romance between a common cuckoo named Canorus and a plastic shopping bag named Polyethylene. Jazimina is endlessly grateful to have landed in such a fertile artistic ecosystem, and is honored to collaborate frequently with her dear friends at the Apple Hill Center for Chamber Music, Around Hear, Ashuelot Concerts, the Caroga Arts Collective, Electric Earth Concerts, and Music on Norway Pond. A graduate of the Curtis Institute of Music and Manhattan School of Music, Jazimina spent some of her most glorious summers singing and studying at Marlboro Music, the Tanglewood Music Center, Ravinia, the Aspen Music Festival, SongFest and the Schubert Institute.
Long Bio
Hailed as “brilliant” by the Berliner Morgenpost and “clearly a singer to watch” by The New York Times, Jazimina is a mezzo-soprano and creative catalyst rooted in the beautiful Monadnock region of New Hampshire. Recent projects include Geliebte Freunde, an interweaving of Brahms’ and Clara Schumann’s songs and letters, Danika the Rose, a bespoke fairytale written in collaboration with the inimitable Odds Bodkin which melds storytelling with Dvorak’s tender Moravian Duets, and Love Like Water, an orchestral fable recounting the romance between a common cuckoo named Canorus and a plastic shopping bag named Polyethylene. Jazimina is endlessly grateful to have landed in such a fertile artistic ecosystem, and is honored to collaborate frequently with her dear friends at the Apple Hill Center for Chamber Music, Around Hear, Ashuelot Concerts, the Caroga Arts Collective, Electric Earth Concerts, Music on Norway Pond, and Scrag Mountain Music, among many others.
A graduate of the Curtis Institute of Music and Manhattan School of Music, Jazimina spent glorious summers singing and studying at Marlboro Music, the Tanglewood Music Center, Ravinia, the Aspen Music Festival, SongFest and the Schubert Institute. Highlights from her recent performances include Mason Bates' Passage for mezzo-soprano, electronics, and orchestra conducted by Eric Jacobsen and the Greater Bridgeport Symphony, the role of the Subdominant Chord in Steven Stucky's opera The Classical Style with the Aspen Music Festival, the role of Ruby in a workshop of Jennifer Higdon’s opera Cold Mountain with Opera Philadelphia, the alto solo in Mahler's Second Symphony at Carnegie Hall with the New York Youth Symphony, concerts of John Harbison's music with the Pro Arte Quartet, chamber music collaborations with the Aureole Trio, a Mozart Requiem with the Albany Symphony, and a solo recital at the Curt Sachs Saal in the Berlin Philharmonic.
As an artistic associate with the Firelight Theatre Workshop she has written and performed in Episode Three of We Were Friends, Firelight’s site-specific serial play exploring the fathomless relationship between Margaret Fuller and Ralph Waldo Emerson. With Firelight she has also performed in Caryl Churchill’s kaleidoscopic Love & Information, and in a staged reading of Annie Baker’s Circle Mirror Transformation.
Up next is an aquatic staging of Elena Ruehr’s a cappella opera Cassandra In The Temples, which uses the Cassandra myth as an allegory for climate change, in the waters of Lake Caroga.