Alisa Peterson's amber, sultry soprano and her commitment to style and articulate phrasing are bringing her great success. Her elegant appearance and natural ability to create multi-faceted, authentic characters make her an instant audience favorite.

This season Ms. Peterson sings the Contessa Almaviva in Florentine Opera's production of Le Nozze di Figaro. Last season she sang the soprano solo in Marie Nelson Bennett’s Once in Israel at the Libby Gardner Concert Hall in Salt Lake City. During the 2016/17 season, she performed Ann in Martin Halpern’s Joint Return at Shetler Studios in NYC. In recent seasons, audiences have seen Ms. Peterson in the roles of Minnie in The Prospector and Pamina in Die Zauberflöte with LA Opera Outreach, Adina in L’Elisir d’Amore and Isabelle/Madeline in Mollicone’s The Face on the Barroom Floor with Opera Las Vegas, Contessa Almaviva in Le Nozze di Figaro with Paradigm Chamber Orchestra, Giulia in The Gondoliers and Gabriella in La Rondine with Utah Opera, the title role in Suor Angelica and Poppea in L’Incoronazione di Poppea at La Musica Lirica in Italy, Musetta in La Bohème with Sandy City Symphony, and in the title role of Donizetti’s Rita with Rochester Lyric Opera. She has covered for Donna Elvira in Don Giovanni at Festival of the Voice in Phoenicia (NY) and for Violetta in La Traviata with Nevada Opera Theatre. While in the Master’s program at University of Utah she performed Donna Anna in Don Giovanni, Alice Ford in Falstaff, and Rose in Street Scene. Read More

Active in concert music, Alisa Peterson has been a featured soloist in sacred works, recitals, and programs featuring the American Songbook across the United States, including: Beethoven’s Mass in C and Symphony No. 9, Händel’s Messiah, Mozart’s Requiem, Exsultate Jubilate, and Coronation Mass, Dvorak’s Requiem, Vivaldi’s Gloria, Tan Dun’s Water Passion, Haydn’s Creation, Kleine Orgelmesse, Lord Nelson Mass and Creation Mass, Babbit’s Phonemena, and Schoenberg’s 2nd String Quartet. She made her Carnegie Hall debut in 2011 as the soprano soloist in John Rutter’s Requiem and Haydn’s Missa Brevis Sancti Joannis de Deo.

Ms. Peterson has developed a long-standing passion for contemporary music whose composers find her dramatic and succinctly musical approach to be the perfect compliment to their writing. She is a “go to” soprano for New York composer Martin Halpern and has created a number of characters in his operas. She has also sung works by Marie Nelson Bennett, Brian Crosby, Igor Iachimciuc, Samuel Richards, Yehudi Wyner, and Marie Grudzien. Read Less

Bizet Micaëla - Carmen Leïla - Les Pêcheurs de Perles Britten Ellen Orford - Peter Grimes Female Chorus - The Rape of Lucretia Governess - The Turn of the Screw Donizetti Anna Bolena - Anna Bolena Adina - L’Elisir d’Amore Lucia - Lucia di Lammermoor Elizabeth - Roberto Devereux Gounod Marguerite - Faust Juliette - Roméo et Juliette Martin Halpern Ann - Joint Return Händel Poppea - Agrippina Alcina - Alcina Cleopatra - Giulio Cesare Armida - Rinaldo Lehár Hanna Glawari - Die lustige Witwe Massenet Manon - Manon Thaïs - Thaïs Monteverdi Poppea - L’Incoronazione di Poppea

Mozart Vitellia - La Clemenza di Tito Fiordiligi - Così fan tutte Donna Anna, Donna Elvira - Don Giovanni Elettra - Idomeneo Contessa Almaviva - Le Nozze di Figaro Pamina, First Lady - Die Zauberflöte Prévin Blanche - A Streetcar Named Desire Puccini Mimi, Musetta - La Bohème Lauretta - Gianni Schicchi Magda - La Rondine Suor Angelica - Suor Angelica Liù - Turandot Rossini Rosina - Il Barbiere di Siviglia J. Strauss Roselinde - Die Fledermaus R. Strauss Arabella - Arabella Daphne - Daphne Strawinsky Anne Truelove - The Rake’s Progress Verdi Alice Ford - Falstaff Gilda - Rigoletto Violetta -La Traviata Weill Rose - Street Scene

Babbit - Phonemena Beethoven - Mass in C, Symphony No. 9 Dvorak - Requiem Händel -Messias Haydn - Die Schöpfung, Kleine Orgelmesse, Lord Nelson Mass, Missa Brevis

Mozart - Requiem, Exsultate Jubilate, Coronation Mass Rutter - Requiem Schoenberg - 2nd String Quartet Tan Dun - Water Passion Vivaldi - Gloria

Diese Liste beinhaltet die empfohlenen, bzw. einstudierten Partien im Repertoire der Künstler. Eine Liste der aufgeführten Partien sind in den Künstlerunterlagen (Biografie/ Resume) auf die Künstlerseite unserer Website vorzufinden.

“Peterson took the role of protagonist, tempter and narrator. Her stratospheric range and stylistic suppleness were impressive.”

Robert Coleman, SALT LAKE TRIBUNE

“Peterson, who has a powerfully dramatic voice but also knows how to carefully modulate it with beautifully crafted expressiveness, was radiant in the final two movements. She captured the anguish and suffering in the third movement “Litanei” (Litany) and the at times unnerving otherworldliness of the final movements “Entrückung (Rapture).”

Edward Reichel, DESERT NEWS, Salt Lake City

“Alisa Peterson, who is a wonderfully dynamic singer, gave an effortless performance of the piece [Milton Babbitt’s Phonemena] that showed her vocal prowess to the fullest.”

Edward Reichel, DESERT NEWS, Salt Lake City

“Soprano Alisa Peterson was the soloist. She gave a virtuosic performance that did full justice to her part. Her wide vocal range and rich expressiveness were a perfect match for the music.”

Edward Reichel, DESERT NEWS, Salt Lake City

“A well-performed opera with a terrific professional cast of singer-actors...kudos go to the performers, especially Alisa Peterson and Carolyn A. Kahl, who were Gretel and Hansel.”

Seth Rogovoy, BERKSHIRE LIVING MAGAZINE

“Lyric soprano Alisa Peterson as Gretel and mezzo soprano Carolyn A. Kahl as Hansel are well up to the vocal demands.”

Elyse Sommer, CURTAINUP, Berkshires

“Joining the harpists...were soloists Alisa [Peterson], soprano, and Tyler Nelson, tenor. Both were exceptional, complementing the choir and bringing operatic flair to their singing”

Edward Reichel, DESERT NEWS, Salt Lake City