BIOGRAPHY

---

Described by New York Times opera critic Anthony Tommasini as having “luscious sound and lyrical refinement,” mezzo-soprano Deborah Domanski brings forth the soul-stirring beauty of the greatest vocal music ever composed in a way that inspires and illuminates her audiences.

Known for her scintillating musicality and impeccable professionalism, Deborah’s career highlights thus far include leading roles with The Santa Fe Opera, Austin Lyric Opera, Michigan Opera Theater, New Orleans Opera, Opera Naples, Tulsa Opera, Indianapolis Opera, St Petersburg Opera and The Metropolitan Opera (cover). Ms. Domanski’s solo concert performance engagements include The American Symphony Orchestra, Los Angeles Philharmonic, The Hong Kong Philharmonic, Utah Symphony, The Santa Fe Pro Musica Contemporary & Baroque Ensembles, The Asheville Symphony, and The Grand Rapids Bach Festival and her Weill Concert Hall debut as part of the Horne Foundation’s The Song Continues… recital series at Carnegie Hall.

Expressing her prowess as a Baroque specialist, Deborah spent her eight seasons with The Santa Fe Pro Musica’s period ensemble, performing sacred Baroque selections, including Handel Opera Arias, Bach, and Vivaldi solo motets, and several selections from Handel’s sacred oratorios.

A staple role in her career, her Rosina in Il barbiere di Siviglia has been described as “agile both vocally and physically, leaving vapor trails with her lyric gymnastics.” -The Naples Daily News 

Gymnastics, lyric and otherwise, were also required for the demanding role of Sesto in Mozart’s La Clemenza di Tito with Opera in the Heights, Houston, TX.  A favorite with New Mexico audiences, Deborah appeared in four programs with the Santa Fe Pro Musica full orchestra: Mahler’s (arr. Schoenberg) Lieder eines fahrenden Gesellen, Mahler’s (arr. Schoenberg) Symphony #4, the alto soloist in Pergolesi’s Stabat Mater, and Vivaldi’s solo cantata Laudate pueri Dominum. Other orchestral highlights include a featured concert of Mozart, Haydn & Gluck Arias with the New Mexico Philharmonic as well as Gluck’s Orfeo ed Euridice in concert as Orfeo with the New Mexico Philharmonic, and Bach’s Mass in B Minor with the Grand Rapids Symphony, under the baton of Maestro David Lockington.

Deborah has achieved consistently glowing reviews throughout her career including:

• Zenobia, Radamisto, Santa Fe Opera: “The lovely mezzo-soprano Deborah Domanski sings the courageous Zenobia with luscious sound and lyrical refinement.”- New York Times.

• Cherubino, Le Nozze de Figaro, Tulsa Opera: “Domanski may be the best Cherubino we’ve seen.” – Tulsa World News
  
• Rosina, Il Barbiere di Siviglia, New Orleans Opera: “That’s what we call skill, and just as important, taste.” – The Times-Picayune.
  
• Lazuli, L’Etoile, Austin Lyric Opera: “…evokes Lazuli’s raffishness and boyishness with enthusiasm.” – The Austin Chronicle
  
• Angelina, La Cenerentola, Opera Southwest: “She leaps through the vocal hurdles of the final aria with an ease born of the most accomplished technique.” – Albuquerque Journal
  
• Title role, La Perichole, Amarillo Opera: “…at the beginning of a major career, she has a rich mezzo that is even from top to bottom. The top notes are sheer magic and the chest voice sounds as natural as the rest of her range.” – North Texas Performing Arts News
  
• Arias, New Mexico Philharmonic: “WORLD-CLASS… Domanski is the kind of exceptional talent that comes along only rarely in a generation.” – Albuquerque Journal
  

Ms. Domanski is a graduate of Manhattan School of Music, and has an Artist Diploma from The Juilliard School – Juilliard Opera Center, winning the Juilliard Vocal Arts Honors Recital in Alice Tully Hall. She spent three summers at the Music Academy of the West, was selected for the two-year Young Artist program at the Pittsburgh Opera, and enjoyed two summers at The Santa Fe Opera Apprentice program where her responsibilities included performing Mercedes in Carmen and covering Susan Graham in the role of Cecilio in Mozart’s Lucio Silla.