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Ambur Braid
Clare Erskine
Ian Stones
“one of the most expressive singer actresses far and wide”
Frankfurter Rundschau, June 2024
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Renowned for her dramatically nuanced and psychologically complex interpretations, Canadian soprano Ambur Braid also brings to the stage an unmatchable authenticity and incandescent vocal power. Her Salome, Senta (Der fliegende Holländer), Die Färberin (Die Frau ohne Schatten), Eva (Schreker’s Irrelohe) and Rachel (Halévy’s La Juive) have left an unforgettable impression, and this season Braid makes her anticipated role debut as Marie (Wozzeck) in two new productions. Firstly for Opéra de Lyon in Richard Brunel’s new production under Daniele Rustioni, and thereafter for Canadian Opera Company in William Kentridge’s new production under Johannes Debus. Elsewhere Ambur makes her company debut at the Palau de les Arts Reina Sofía as Madame Lidoine in Robert Carsen’s production of Dialogues des Carmélites under Riccardo Minasi.
Praised as being “born to play Salome” (Bachtrack, 2023), it has since become a signature role for Braid, with huge critical acclaim in both Barrie Kosky’s production for Oper Frankfurt and Atom Egoyan’s production for Canadian Opera Company, the latter of which brought Ambur’s appearance in the film ‘Seven Veils’. Other notable role and company debuts include both Eva (Irrelohe) and Die Färberin (Die Frau ohne Schatten) under Daniele Rustioni for Opéra de Lyon, Senta (Der fliegende Holländer) in Herbert Fritsch’s production for Komische Oper, and Stephana in Umberto Giordano’s rarely performed Siberia for Bregenz Festival. A former ensemble member of Oper Frankfurt, selected recent highlights include Rachel in Tatjana Gürbaca’s new production of La Juive under Henrik Nanasi, Ariadne (Ariadne auf Naxos) under Thomas Guggeis, Chawa in Rudi Stephan’s Die Ersten Menschen — a new production by Tobias Kratzer — conducted by Sebastian Weigle and recorded for CD release, as well as the eponymous roles of Norma under Erik Nielsen and Tosca conducted by Carlo Montanaro.
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Recent concert highlights include Schmitt’s La Tragédie de Salomé with Frankfurt Radio Symphony Orchestra under Alain Altinoglu and Beethoven’s Symphony No.9 with National Arts Centre Orchestra, Ottawa. This season Braid returns to Beethoven’s Symphony No.9 at the Tanglewood Festival in Boston and with Gulbenkian Orchestra, both under Hannu Lintu.
Ambur Braid has received degrees from the Glenn Gould School of the Royal Conservatory of Music in Toronto and San Francisco Conservatory and is a studio alumna and former ensemble member of the Canadian Opera Company.
“Above all, the former ensemble member Ambur Braid turns her Rachel into a modern-day woman of flesh and blood, who also knows how to defend herself violently against Léopold’s infidelity and lies and in the end goes to death in flames full of conviction” –
“Ambur Braid’s Rachel, a powerful soprano with brilliant and very well projected highs, has a lot of panache. Like her recent interpretations of the Dyer’s Wife in Die Frau Ohne Schatten at the Opéra de Lyon and Salome at the Frankfurt Opera, she impresses as soon as she arrives on stage with her incandescent presence and whatever her appearance (wise or light-hearted girl), you can feel the fire that smoulders under the ice”
“In the title role, Ambur Braid returns to Frankfurt and inspires with a luminous soprano, which can increase to great drama, and clear trebles that enhance the purity of the role. She movingly, without compromise, portrays the ordeal of the title character.”
“Grandiose in the effortless development of her well-timbred voice, Ambur Braid makes every appearance of Rachel an event”
“Ambur Braid literally glows through the emotional world of the foster daughter Rachel, the eponymous Jewess, with her youthful, dramatic soprano”
“Ambur Braid literally glows through the emotional world of the foster daughter Rachel, the eponymous Jewess, with her youthful, dramatic soprano”
“Ambur Braid, Frankfurt’s Salome, is one of the most expressive singer actresses far and wide, her soprano is also highly expressive, and she never loses her finesse”
“Ambur Braid as the new Senta does an excellent job, with fabulous heights and fresh soprano tones. She also plays the sexual attraction in the big “As if from the distance of times long past” duet so that it crackles”
“Ambur Braid has probably found the role of her life in Salome. She can colour her bright voice in an almost childishly naïve way; but she also has astonishing reserves of strength which allow her to literally flood the auditorium in sound, as in her final ecstatic monologue”
“Ambur Braid tries to be a 16-year-old princess with the voice of Isolde, as Strauss desired. Her voice type is like Elsa van den Heever’s, has an attractive Straussian timbre with warm high notes and radiant long notes. Her playing is marked by a certain joy at experimentation and a healthy curiosity towards portraying unconventional women, similar to Ausrine Stundyte”
“Her soprano becomes more dramatic, and the way she lets herself be carried away on the giant wave of Strauss’s music is risky, but authentic. From the first to the last scene… the evening is hers.”
“Ambur Braid is a sumptuous Dyer’s Wife and her portrayal of a reluctant heart which will eventually open itself to eroticism and love, masterful.”
“Ambur Braid’s Dyer’s Wife voices the terrible humour and vindictiveness of the character to which she gives an entire tragic dimension.”
“Ambur Braid, […] gives the Dyer’s Wife psychological complexity thanks to a voice driven by pure emotion.”
“Ambur Braid (The Dyers’ Wife) presents very humane character, combining vocal prowess and a charismatic presence.”
“Ambur is a gorgeous Dyer’s Wife, a superb actor and with a voice which rises above the surge of decibels in the pit.”
“Ambur Braid’s Dyer’s Wife is more lyrical than dramatic, [..] with an eroticism embodying a femininity both fully realised but anxious.”
“Ambur Braid ‘s Chawa overflowed with passion and warmth, with a powerful treble, at the same time she knew how to lend credibility to dramatically problematic passages, such as the opening soliloquy of the second act.”
“[…] as the character of Chawa, Ambur Braid stands out above all for her vigorous vocal performance.”
“Seen on February 3, the Canadian soprano Ambur Braid scored a major triumph as a dramatically riveting and vocally blazing Salome.”
“Angèle, […] is the fabulous Ambur Braid — who makes it clear from the first minute that she has a great vocal range, which immediately causes a glamorous exaltation.”
‘Yet it’s soprano Ambur Braid who reveals just how disturbing Salome can be. Braid’s portrayal of the Judean princess is unnerving in its realism, devoid of any archetypes about royalty or bratty teenage girls. Right away, we’re dropped into Salome’s obsession with Jochanaan, and Braid carries us from curiosity to lust to sheer rage without a dramatic beat left empty. And she does it all with the voice – be it her round, glinting soprano or the near-feral utterings of Salome at her worst.’
“Ambur Braid gives an extraordinary performance in the title role. She limns the arc of her harrowing journey in fine dramatic and vocal form.”
“Then there was Ambur Braid. I think she was born to play Salome. The role sits well for her voice ringing out across the theatre and this production allowed full scope for her extraordinary acting skills.”
“Ambur Braid was Eva, her dark soprano possessing the necessary amplitude and stamina for Schreker’s effusions.”
“The rest of this good ensemble were outshone by the Canadian Ambur Braid: with Stephana she adds another lyric spinto heroine – alongside her triumphs in this repertoire in Frankfurt – her lush soprano can convey dalliance, seduction, devotion, through to the climax of passionate outbursts… Despite the bitter end, there was unanimous jubilation for this particular opera orchid, who will no doubt continue to bloom”
“The cast is dominated by Canadian dramatic soprano Ambur Braid, who magnifies the role of Stephana with astonishing ease. The generosity of her voice is only matched by her obvious dramatic conviction”
“This production is dominated by Ambur Braid, who lends a strong, fruity and musical voice to the heroic Stephana, as well as a dramatic interpretation which is full of energy.”
“At the centre of it all is Ambur Braid, who as Stephana is vocally full bodied. Dramatically the Canadian is also physically powerful…Braid lets her soprano burst forth in highly dramatic climes of pleasure; where passion burns like a wild beacon”
“The object of their flame tonight is the splendid Ambur Braid, a great soprano with flourishing lyricism and femininity — possessing a vibratile grain in the timbre which evokes eroticism — and an artful way of phrasing with remarkable fluidity. [An] artist to follow, without a doubt.”
“THE voice of the evening is Ambur Braid! A great dramatic soprano, this Canadian singer has powerful lower notes and a dazzling high, spicy timbre with a beautifully cultivated legato, and balanced projection throughout the range. Her Eva will remain in memory for a long time.”
“Canadian soprano Ambur Braid brings a fresh and sure-footed voice to the contradictary role of Salome.”
“The Canadian soprano Ambur Braid as Eva is a revelation. Her big, beautiful and clear voice characterising this self-confident young woman”
“But the revelation of the evening is that of Ambur Braid, a Canadian soprano for whom it is not surprising to read that Salomé and Ariadne are amongst her most sought after roles. The voice is sumptuous, both clear and opulent”
“The fact that Norma becomes an event depends not least on the casting of the title role…Now [Braid] devoted herself to the extremely demanding role of Norma — with outstanding success! Braid becomes the driving force of the production and was able to assimilate this role completely convincingly, but not without weaving in her own variety. With an enigmatic stage presence, her portrayal is extremely physical and so the action advances to a tour de force. Sometimes in deep despair, sometimes on the verge of a nervous breakdown — her character drawing is passionate without looking exaggerated. And vocally, she didn’t lose any of her persuasiveness. With subtle vibrato and dramatic voice colouring, she surprises with delicate nuances and delicate piani that dissolve into coloratura. With this agile, versatile voice, she gave Norma a special charisma.”
“While Ambur Braid created an effective counterpart with her mesmerizing, dark-coloured voice”
“Madame Lidonie, the new prioress, which Ambur Braid performs excellently between impulsiveness and restraint with a dramatically large voice”
“Musically, these are great performances: The Canadian Braid makes her role debut, her voice and demeanour are highly dramatic and exuberant, although no one says that Ariadne has to be a patient and measured lady… Richard Strauss’ long, demanding melody lines only make it all the more impressive. Brilliant, as are the top notes”
“Braid has an old school quality to her voice, with tremolo that creeps into its lower and middle registers, giving her a slight vulnerability that compliments the bullish determination of her acting. In her upper range, Braid can blast. On climactic notes, she sends a wall of sound into the auditorium; the orchestral din trails behind.”
“Ambur Braid’s Salome was capricious and sensuous, and at her most convincing when asserting her will…her voice was powerful, ductile and clear.”
“The fabulous Canadian soprano Ambur Braid, who displays a range of vocal expression from seductive groan to husky sigh which gives her Salome a physical presence and youthful agility that one would always wish for but seldom find.”
“The Canadian Ambur Braid hits equally with her light and distinctly guided soprano, which also develops volume and radiance, as well as with her ability to get scarcely involved in the truly multiple challenges of directing.”
“Vocally, a pure pleasure, especially because against the role cliché Ambur Braid can make her voice shine without any sharpness even in ecstasy.”
“The young dramatic soprano Ambur Braid makes a brilliant role debut, both singing and acting. With her cool and clear voice and her provocative ecstatic acting, she depicts the figure of Salome radically and uncompromisingly and with her portrayal goes to the limit of a self-destructive portrait. She easily changes registers, plays with her voice, and is brilliantly clear even in the dramatic climaxes.”
“Ambur Braid as Salome, a vocal and dramatic force.”
“Ambur Braid is a fascinating Salome with a big, colourful voice, which has a clear declamatory edge without losing warmth.”
“Salome is Ambur Braid and she completely immerses herself in the role. She has a radiant, youthful, lyrical soprano voice, which she uses very musically. ”
“You completely believe in Ambur Braid’s Salome, you believe in her every note.”
“She was also spot on in her appearance disguised as the Sibyl, launching some stratospheric spikes that she made sound logical and right, as well as later, in a Straussian trio with Hadrian and Antinous. I don’t think she’s ever sounded better — purer and more effortless of tone, more generous in colour and warmth.”
“Canadian Ambur Braid’s powerful coloratura soprano and sensitive acting as Sabina make her a strong presence throughout the evening.”
“Braid vaults through the score like an Olympian, her high notes accurate and thrilling, her emotion palpable.”
“Lighter in timbre than other Toscas, Braid was still the dominant vocal presence in this production, her singing the most nuanced and, ultimately, the most beautiful.”
“From dizzying heights in multiple-octave leaps to deep down in the limits of the mezzo-soprano register – there is an enormous vocal range required. Not many singers are able to perform this role with such sovereignty as Ambur Braid did on her role debut in the Frankfurt Opera.”
“The Canadian soprano Ambur Braid […] accredited the extremes of the role impressively – not only with their trumpeting tones, but also with a dramatically strengthened vocal range.”
“The Canadian coloratura soprano Ambur Braid savored in the extremely risky part of Elisabetta with her extreme vocal range and abrupt changes in position as fearless as it was vocally powerful.”
“As Elisabetta I, she is a force, primarily vocal, but also theatrical. From heartfelt moments to wild fury, the coloratura soprano shows all the feelings of a jealousy-filled ruler with stunning high notes and pianissimo (depicting a very young Elizabeth I).”
“A powerful Soprano, Ms. Braid, when in despair, allowed her gleaming sound to turn acidic and steely.”
“The soprano Ambur Braid, as Aci, sang with both force and florid charm”
“Ambur Braid as a champagne-colored coloratura in pleated blouse is a class unto herself when she sings the queen, a mixture of Zerbinetta, Kundry and Lady Macbeth.”
“Soprano Ambur Braid is an impressive Queen of the Night. She does not sing the Queen’s two principal arias merely as showpieces, as singers so often do, but rather acts while singing so that she brings out the meaning of the words while effortlessly engaging in the score’s vocal gymnastics.”
“Her effortless freedom and suppleness while singing through impossibly high and intricate passages, combined with a campy, sinister interpretation of the role, was glorious.”
“Braid gave one of the most chilling renditions of Der Hoelle Rache I’ve ever heard, navigating the impossible coloratura lines of the aria pianissimo, rather than double forte, making them doubly malevolent.”
“Her two big arias were sung as close to perfectly as one could hope. […] I could listen to Ambur sing me the phone book, if I’m being completely honest.“
“The other is Dalinda’s great aria of anger and repentance “Neghittosi or voi che fate?” where Braid’s superb vocal control only heightens the aria’s emotions.“
“As Dalinda, Ambur Braid delivers the most nuanced and moving performance. […] Then she sings, and she pours every ounce of Dalinda’s yearning, innocence, and devotion into every note she sang.”
“Ambur Braid makes an exceptional UK debut bringing the right combination of fear and allure to the Queen of the Night, and achieving a fine balance between clarity and nuance in her sound in ‘Der Hölle Rache’.”
“As she demonstrated in last season’s The Magic Flute, she can deliver the trifecta of crystalline high notes, blissfully graceful vocal cadenzas and deep emotional intensity that Mozart liked all his leading sopranos to possess.”
“Ambur Braid, a strong-willed Konstanze, sang this famous aria with firm technique and edgy tone.”
“Ambur Braid was our Vitellia, communicating malice with intense acting and a steely, tight vibrato. She cross-pollinated coloratura with verismo in Act 1”