"With her dramatic tumble of red hair and cello-mello voice, Ms. Fischer sings with a passionate restraint that has no equal in her generation. You didn't want her to stop," so said the New York Times following Abigail Fischer's performance of George Benjamin's Upon Silence with St. Luke's Orchestra at New York Philharmonic's Biennial. Ms. Fischer has 'also received praise for her creation of Mrs. X.E. in Du Yun's Pulitzer Prize-winning opera Angel's Bone at Prototype Festival, and Isabelle Eberhardt in Missy Mazzoli's one-woman opera Song from the Uproar with Beth Morrison Projects and the NOW Ensemble.
Following acclaimed performances at Los Angeles Opera and Chautauqua Opera, Ms. Fischer will reprise Isabelle with Beth Morrison Projects at Boston's Isabella Stewart Gardner Museum in the 2016-17 season, and with Cincinnati Opera in the summer of 2017. Other engagements in the 2016-17 season include her Italian stage debut in Toshio Hosakawa's The Raven with Orchestra Haydn in Bolzano, Messiah with Duke Chapel Choir and Milwaukee Symphony Orchestra, Haydn's Lord Nelson Mass and Maurice Duruflé's Requiem with New York Choral Society, and a program of Vivaldi motets with Mercury Houston.
Known for her "serenely captivating" work in opera "and disarming intimacy" (New York Times), Ms. Fischer recently performed the tile role in alternative productions of Carmen at Colorado Music Festival and Bay Chamber Concerts in Rockport, Maine. She has sung the title role in The Rape of Lucretia with Opera Memphis, the premiere of Lee Hoiby's This is the Rill Speaking with American Opera Projects, Eötvös' Angels in America with Los Angeles Philharmonic, and Angelina in La cenerentola with Union Avenue (in Italian) and Salt Marsh Opera (in English). Other recent premieres included Mrs. X.E. in Angel's Bone and the Mother in Stefan Weisman's Scarlet Ibis at Prototype Festival. With Gotham Chamber Opera, Ms. Fischer performed Testo in Monteverdi's Il combattimento di Tancredi e Clorinda and Eva in Martinů's Comedy on the Bridge.
A performer of repertoire ranging from contemporary to early music, Ms. Fischer has made a vibrant career as a concert soloist. With the Boston Symphony Orchestra, Ms. Fischer performed semi-staged versions of Strauss' Salome and Mendelssohn's A Midsummer Night's Dream; and with Columbus Symphony she has performed Lieberson's Neruda Songs. She has worked with American Bach Soloists in programs of Vivaldi's Gloria, Handel's La resurrezione, Porpora's De Profundis clamavi, and Bach's Magnificat; REBEL Baroque Orchestra in Mozart's Mass in C minor and Handel's Messiah; and with Early Music New York in programs of Vivaldi motets. She has performed repertoire with the Kansas City Symphony, Milwaukee Symphony Orchestra, Rhode Island Philharmonic Orchestra, Virginia Symphony Orchestra, and Boston Baroque.
Recordings of Ms. Fischer's includes the operas Song from the Uproar (Missy Mazzoli), The Judgement of Midas (Kamran Ince); the oratorios Haydn's Lord Nelson Mass(Boston Baroque), Katrina Ballads (Ted Hearne); the chamber works Mothertongue (Nico Muhly), The Quality of Mercy (Patrick Castillo), and numerous works of John Zorn.
Originally trained as a cellist, Ms. Fischer has worked often as a chamber musician, from Musicians of Marlboro Music Festival, Chamber Music Northwest, to St. Luke's Chamber Ensemble. She has premiered works of Elliot Carter and Bernard Rand at Tanglewood Music Festival, Nico Muhly at Lincoln Center, numerous works by John Zorn throughout the world. A graduate of Eastman School of Music (MM), and Vassar College (BA), Lorenzo di Medici in Florence, Italy (Certificate in Italian language and literature); Ms. Fischer now studies with Stephen King in Houston, and lives with her partner in Greenwood Lake, NY.