Indra Thomas has established herself as an artist of incredible sensitivity, poise, and virtuosity.
Most recently, Ms. Thomas has been seen as Serena in Spoleto Festival USA’s lauded production of Porgy and Bess. Ms. Thomas’ 2015-2016 season also included a performance with the American Harp Society.
Ms. Thomas’ 2014-2015 season included performances with the New West Symphony in California (Bachianas Brasileiras No.5), Flint Symphony in Michigan (Britten War Requiem),
The 2013-2014 season brought appearances as a soloist with the Orquesta Filarmónica de Bogotá in Britten’s War Requiem and a return to the role of Aida with Bob Jones University.
During the 2012-2013 season, the soprano appeared in concert at Un Violon sur le Sable in Royan, France; joined tenor Joseph Calleja for a program of arias and duets at Royal Festival Hall in London; performed recitals at Seattle University (Washington), and Agnes Scott College (Georgia); appeared with Arizona Opera for Leonora in Il trovatore, and returned to the Flint Symphony for a concert of music by Samuel Barber. During summer 2013, she debuted the role of Senta in Der Fliegende Holländer with the Princeton Festival.
Engagements in 2011-2012 included a return to the Hamburg State Opera for Aida, further performances of Aida at London’s Royal Albert Hall, and Knoxville: Summer of 1915 with the Florida Orchestra Symphony.
In the 2010-2011 season, Ms. Thomas performed a Gala Concert with the Artist Series of Sarasota, a recital at Weill Hall (Carnegie Hall) in New York, and the Verdi Requiem with the Flint Symphony. Internationally, she sang the title role in Aida with Palau de les Arts in Valencia, Spain, and Choregies d’Orange in Orange, France. She also appeared at the Mozart Festival La Coruña in Spain for Chausson’s Poémes de l’amour et de la mer.
Engagements in the 2009-10 season included performances of the Verdi Requiem in a tour of four cities in Spain with the Euskadi Orchestra under the direction of Andres Orozco Estrada, Britten’s War Requiem with the Orchestra de Paris, and the title role in Aida at the Avignon and Bregenz Music Festivals, respectively. Engagements in the United States included a Christmas concert with Little Orchestra Society of New York, the Verdi Requiem with the Vermont Symphony, and a last-minute performance in the title role of Aida with the Atlanta Opera.
During the 2008-09 season, Ms. Thomas made her debut at the Teatro Real in Madrid and the Wiener Staatsoper, as Amelia in Un ballo in maschera. In addition, she sang performances of the Beethoven Symphony No. 9 with the Seoul Philharmonic Orchestra in South Korea, and a concert of opera arias with the Cleveland Orchestra.
In the 2007-08 season, Ms. Thomas performed opposite Roberto Alagna in the world premiere of Le Dernier Jour d’un Condamné by David Alagna at the Théâtre des Champs Élysées, and sang the Porgy and Bess Suite with the Gewandhaus Orchester under the direction of Riccardo Chailly. She made her debut at the Teatro del Maggio Musicale Fiorentino as Amelia in Un ballo in maschera, sang the Verdi Requiem with the Detroit Symphony and the Kansas City Symphony and starred in a gala concert celebrating the 60th Anniversary of The Little Orchestra Society of New York in Town Hall. Ms. Thomas sang Sir Michael Tippett’s A Child of our Time with the London Symphony Orchestra under the direction of Sir Colin Davis. This performance was recorded and released on the LSO Live label and nominated for a 2009 Grammy Award in the “Best Choral Performance” category. She also performed Aida with the Gran Teatre del Liceu in Barcelona, and made her debuts with Opera Africa in Johannesburg and at the San Diego Opera in this role.
Additional performances of note include Il trovatore with Austin Lyric Opera; Spanish debut in the Verdi Requiem under the direction of Jesus Lopez-Cobos in a gala performance; and a Boston Symphony debut in Tippett’s A Child of Our Time with Sir Colin Davis conducting. As well: her New York Philharmonic debut in the Porgy and Bess Suite conducted by Lorin Maazel and nationally televised on Live from Lincoln Center (2003 Emmy nomination); Knoxville: Summer of 1915 with the Philadelphia Orchestra; Liu in Turandot at the Metropolitan Opera, Ms. Thomas’ debut at the Lyric Opera of Chicago in Aida; and Elisabeth in Don Carlos with Boston Lyric Opera and Minnesota Opera.
HIGHLIGHTS OF PREVIOUS SEASONS:
2006/07: Ms. Thomas’ Italian debut in Un ballo in maschera at the Teatro Carlo Felice in Genoa; Aida at the Chorégies d’Orange opposite Roberto Alagna; debut at the Hamburgische Staatsoperas Amelia in Un ballo in maschera; concerts of the Porgy and Bess Suite with the Bochumer Symphoniker; Tokyo debut in La forza del destino at the New National Theatre.
2005/06: Vier letzte Lieder by Strauss under the direction of Vladimir Spivakov and a recital at the Colmar Festival; London debut performing Sir Michael Tippett’s A Child of Our Time under the direction of Sir Roger Norrington at the opening-night Proms; and Beethoven Symphony No. 9 with the Baltimore Symphony.
Additional performances of note include Il trovatore with Austin Lyric Opera; Villa-Lobos’ La Forêt Amazonian (recorded by Radio France); Spanish debut in the Verdi Requiem under the direction of Jesus Lopez-Cobos in a gala performance that was televised throughout Spain; and a Boston Symphony debut in Tippett’s A Child of Our Time with Sir Colin Davis conducting. As well: her New York Philharmonic debut in the Porgy and Bess Suite in a gala New Year’s Eve concert conducted by Lorin Maazel and nationally televised on Live from Lincoln Center (2003 Emmy nomination); Knoxville: Summer of 1915 with the Philadelphia Orchestra; Liu in Turandot at the Metropolitan Opera, Ms. Thomas’ debut at the Lyric Opera of Chicago in Aida; and Elisabeth in Don Carlos with Boston Lyric Opera and Minnesota Opera.
Ms. Thomas made her professional debut in the Verdi Requiem in Carnegie Hall with the New York Choral Society, and has recorded a CD for National Public Radio, which includes lieder by Strauss, Duparc, John Duke, and Spirituals, and is featured on A Night at the Opera on Naxos. While in her teens, she sang “What a Friend We Have in Jesus” in the funeral scene of the Academy Award-winning film Driving Miss Daisy.
Spoleto Festival USA – Porgy and Bess
And Indra Thomas’ Serena is the bedrock of the community, the matriarch whose piety and concern turns out to be an essential glue that holds Catfish Row together. Thomas nearly stopped the show with her tour-de-force prayer for Bess.”
Adam Parker, The Post and Courier
Arizona Opera – Il Trovatore
Indra Thomas convinces as Leonora. The soaring curve of her rich vocal line in “Tacea la notte placida” sets the style of the performance with tension consistently held at the highest levels. She carries this multi-faceted role with grace, and a remarkable sense of Romantic belcanto. The trills and ornate passages of Act IV’s “D’amor sull’ali rosee” are well in place and effortless.”
Christian Dalzon, ConcertoNet
Royal Albert Hall – Aida
Soprano Indra Thomas made a lush and soulful Aida…”
Allis Moss, London24
Thomas is stylistically superb; her diction was spot-on, her phrasing excellent, and her sense of dramatic coloring was wonderfully effective…”
Michael Migliore, Musical Criticism
Utah Symphony Orchestra – A Child of Our Time
Lockhart has recruited a first-class quartet of soloists: soprano Indra Thomas, mezzo Marietta Simpson, tenor Russell Thomas and bass-baritone Derrick Parker. All sang with keen musical focus and emotional conviction on Friday, but Indra Thomas was first among equals, thanks largely to her stunning delivery of the spiritual “O, By and By.””
Salt Lake Tribune
Atlanta Opera – Aida
A last-minute cancellation at Atlanta Opera’s Aida turned Saturday evening into a brilliant homecoming for Atlanta native Indra Thomas, who triumphed in the title role. It was a night of great singing – some of the best Atlanta has heard in recent years . . . [Thomas] brings power and emotional intensity, along with floated high notes. Her Aida is a tour de force. She is riveting on the stage; a real singing actress.”
James L. Paulk, The Atlanta Journal-Constitution
Pensacola Opera – Aida
Soprano Indra A. Thomas is superlative in the role of Aida, the Ethiopian slave torn between her love for the Egyptian military hero, Ramades, and loyalty to her homeland. This is her second role with the Pensacola Opera, and I hope there are more to come. Her vocal prowess and emotional energy are stellar, especially on the arias “Ritorna vincitor” and “O Patria mia.””
News Journal Correspondents
Abu Dhabi Classics Opening Gala
The spotlight was soon cast on Indra Thomas as the Verdi soprano who gave yet another incredible performance to add to her already impressive portfolio of performances which include orchestral engagements such as the Philadelphia, New York Philharmonic, Boston Symphony, London Symphony, BBC Symphony and Rome’s Accademia di Santa Cecilia.”
Kansas City Symphony – Verdi Requiem
Thank goodness soprano Indra Thomas sang wonderfully, imbuing her extensive part with an urgent, warm-blooded operatic appeal. Hers is a lovely instrument, and her final Libera Me had a desperately dramatic ferocity that almost redeemed this disappointing evening.”
The Kansas City Star
|D. Alagna||La Condamné||Le Dernier Jour d’un Comdamné|
|Mozart||Donna Anna||Don Giovanni|
|Mozart||Countess||Le nozze di Figaro|
|Poulenc||Madame Lidione||Dialogues des Carmelites|
|Puccini||Suor Angelica||Suor Angelica|
|Strauss||Ariadne||Ariadne auf Naxos|
|Verdi||Elisabeth de Valois||Don Carlos|
|Verdi||Elena||I vespri siciliani|
|Verdi||Leonora||La forza del destino|
|Verdi||Amelia||Un ballo in maschera|
|Barber||Knoxville: Summer of 1915|
|Beethoven||Symphony No. 9|
|Berlioz||Les Nuits d’ete|
|Brahms||Ein Deutsches Requiem|
|Mahler||Symphony No. 2|
|Mahler||Symphony No. 8|
|Martin||In Terra Pax|
|Strauss||Four Last Songs|
|Tippett||A Child of Our Time|