Monica Reinagel has performed as a soloist with orchestras, opera companies, and choral organizations throughout the United States and Germany, praised by critics for her “voluptuous voice,” brilliant coloratura,” and “dramatic mastery.” But in the words of the Baltimore Sun, “it is her connection with the audience tat remains etched in the memory.”
Recent seasons have included performances of Handel’s Messiah with the Handel Choir of Baltimore, Duke University, the Santa Fe Symphony, and the U.S. Naval Academy, Bach’s B Minor Mass and St. Matthew Passion on the Bach and Baltimore Serise, as well as Mozart’s Requiem, Pergolesi’s Stabat Mater, Walton’s Facades, and Aaron Copland’s In the Beginning.
Ms. Reinagel’s operatic appearances include over three dozen principal roles, including Penelope in Monteverdi’s Return of Ulysses, Nerone and Ottone in The Coronation of Poppea, Bradamante in Alcina and Prince Orlovsky in Die Fledermaus with companies such as the Baltimore Opera, Opera Lafayette, Opera Vivente, American Opera Theatre, Münchner Opernwerkstatt, and the Smithsonian Institute. She has also created leading roles for he world premiers of three new American operas – Dan Crozier’s With Blood, with Ink (winner of the Opera America award), Augusta Read-Thomas’ Ligeia, and Robert Ward’s Roman Fever.
Ms. Reinagel studied voice and opera at Boston University, the Musikhochschule in Munich, Germany, and the Peabody Institute in Baltimore, Maryland. While living in Germany, she spent two seasons touring with the Bavarian National Radio Chorus, working with conductors such as Leonard Bernstein and Sir Colin Davis. She is a winner of the Richard Wagner Verein Prize and Scholarship and was a Regional Finalist in the Metropolitan Opera National Auditions. Monica currently makes her home in the Baltimore/Washington DC area.
© Monica Reinagel