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Esther Heideman


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Esther Heideman


Soprano Esther Heideman reminded one of the young Beverly Sills, what with her great cascade of strawberry blond curls, her bubbly personality, and the drop dead gorgeous voice. When she embellished the vocal line with ornaments that kept ascending into the stratosphere, you didn’t want her to stop.
— Ellen Pfeifer, Boston Globe, 12.15.01

Angelic is the word that has most often been used to describe the silvery, pure, sweet tone of Esther Heideman's vocal artistry.  In 2000, she won the Metropolitan Opera National Council Auditions and the Licia Albanese Competition. In 2001, she made her Metropolitan Opera debut singing Pamina in Mozart’s Die Zauberflöte.  These performances were immediately followed by her debut with the New York Philharmonic in Bach’s Christmas Oratorio, and her European debut with the Prague Radio Symphony, singing in Mahler's Second Symphony.

 

Esther was raised on a small dairy farm in Wisconsin, and was involved in band, choir and church music from a young age, but never took a serious voice lesson until she was 19.  Originally attending the University of Wisconsin- Eau Claire to become a music teacher, it was there that she discovered her true passion for singing and has dedicated her life to it ever since.

 

Ms. Heideman's career began with her Carnegie Hall debut, singing Handel’s Messiah.  Since this time, she has performed with major orchestras throughout the world such as the Baltimore Symphony, Pittsburgh Symphony, St. Louis Symphony, Atlanta Symphony, Minnesota Orchestra, St. Paul Chamber Orchestra, Philadelphia Pops, Daejeon Philharmonic Orchestra, Beijing New Music Ensemble, Chicago Symphony Orchestra, Aspen Music Festival, Virginia Symphony Orchestra, Jacksonville Symphony, National Philharmonic, Buffalo Philharmonic, Milwaukee Symphony, Cincinnati   Symphony, Seattle Symphony, Boston Baroque, Amsterdam Symphony Orchestra, Orquestra del Gran Teatre del Liceu, and the Rotterdam Philharmonic Orchestra.

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Esther Heideman...has a bright, clear sound and resourceful technique. Hearing this lively redheaded coloratura sing Dearest Mama from Moore’s The Ballad of Baby Doe, and the Fairy Godmother’s aria from Massenent’s Cendrillon, it was impossible not to think: BEVERLY SILLS.
— Anthony Tommasini, New York Times, 3.8.00
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But it was radiant, young Esther Heideman who took top vocal honors. Her remarkable soprano contained an intriguing hint of darker complexity beneath it’s bright surface, and her highest notes were capped by a luxurious, silvery shimmer that underscored the ecstatic authority she brought to the angelic role.
— TJ Medrek, Boston Herald, 12.15.02
Soprano Esther Heideman spun out pure, sweet tones like an angel straight from Central Casting.
— Tim Page, Washington Post, 11.25.02

In addition to performing the staples of traditional concert repertoire, such as Beethoven's Symphony #9, Mahler's Symphony #2 or #4, Mozart's c- minor Mass, Handel's Messiah and Orff's Carmina Burana, Esther Heideman has featured prominently in the premieres of some of today's most respected contemporary composer.  These have included the role of Jenny Lind in Libby Larsen’s opera Barnum’s Bird (Plymouth Music Series, Philip Brunelle), Sister Angelica in The Three Hermits by Stephen Paulus, and The Revelation of St. John by Daniel Schnyder (with the Orquestra del Gran Teatre del Liceu under Sebastian Weigel and Milwaukee Symphony under Andreas Delfs), as well as Deus Passus by Wolfgang Rihm (Rotterdam Philharmonic, Markus Stenz).  Ms. Heideman lived in Beijing, China for a year, performing many concerts with the Beijing New Music Ensemble including a performance at the NCPA (Egg Theater).  Since moving back to the US, Esther has also returned to the Aspen Music Festival every summer to perform music with the Aspen Contemporary Ensemble.

 

Upcoming performances include return engagements with Carnegie Hall, Aspen Music Festival, and The Masterwork Chorus.  Esther is also currently recording music to be released in 2016 on iTunes.  When not performing, she enjoys teaching lessons and masterclasses and sharing her knowledge and experience with young performers.

 

The soloists ranged from the good to the exemplary, especially Esther Heideman as Hero. Heideman’s soprano has the pale hues and fair-weather clarity of Wedgwood, filled with colors that are light yet distinct, and she is capable of smooth, classical arches of sound. Hero, the character, is an innocent idiot, but Heideman’s performance hid the vacuity with pure charm.
— Philip Kennicott, Washington Post, 2.28.03