Lyric soprano Jacqueline Echols, a native of Detroit, is a 2012 second prize winner at the Gerda Lissner International Vocal Competition. She completed her master's degree and artist diploma at the University of Cincinnati College-Conservatory of Music (CCM), where she appeared as the Female Chorus in The Rape of Lucretia, the Countess in The Marriage of Figaro, Anne Truelove in The Rake's Progress, and Pamina in The Magic Flute.
Echols has been praised for her “dynamic range and vocal acrobatics” (Classical Voice) in theaters across the United States. Her 2016-17 season begins with her debut at The Dallas Opera as Pip in Moby Dick. Echols debuted the role last season in her company debut with Los Angeles Opera, for which Opera Today noted that “the voice of Jacqueline Echols’ Pip soared gracefully over Heggie’s orchestra, soloists and chorus.” Echols performs another of Heggie's most popular works in February in her return to Washington National Opera as Sister Rose in Dead Man Walking. Echols makes her house debut at Pittsburgh Opera in April when she creates the role of Helen in the world premiere performances of The Summer King. She finishes her season in concert at the Tanglewood Festival singing Woglinde in Wagner's Das Rheingold conducted by Andris Nelsons.
Recent seasons have seen Ms. Echols with North Carolina Opera as the title role in La Traviata and Musetta in La bohème, as well as with the Glimmerglass Festival as Pamina in Die Zauberflöte, Giulietta in King for a Day, and Echo in Ariadne auf Naxos directed by Francesca Zambello. She made her Los Angeles Opera debut as Pip in Moby Dick in 2015. A graduate of Washington National Opera's Domingo-Cafritz Young Artist Program, Echols was seen in previous seasons at the Kennedy Center as Micaëla in Carmen and Woglinde and Forest Bird in the full Ring Cycle conducted by Music Director Philippe Auguin, as the Unicorn in the world premiere of Jeanine Tesori’s The Lion, the Unicorn, and Me, and as Clorinda in Rossini's La Cenerentola.
Additional appearances include Cincinnati Opera as Countess Ceprano in Rigoletto, First Lady in The Magic Flute, and Clara in Porgy and Bess; Micaela in Carmen with Eugene Opera; and New York Harlem Productions as both Clara and Bess in Porgy and Bess, for which she was featured in the documentary Porgy and Me which premiered in Germany in January 2010.
This is Ms. Echols’ first appearance with the Ann Arbor Symphony Orchestra.