Hailed by OPERA NEWS for her "warm and effortless" singing and widely recognized for her vibrant interpretations, American lyric soprano Hailey Clark is quickly making her mark in Europe and North America. Clark continues to garner praise on the international stage for her shimmering, signature portrayals of Mozart heroines, and her versatility in operatic and concert repertoire spanning nearly three centuries.
Since 2019, Hailey Clark has been a member of the ensemble at the Staatsoper Hannover, where she already celebrated great success as Rachel in a new production of Halévy's La Juive and the title role in Handel's Alcina. In the 2020/21 season, Clark makes her Staatsoper Hamburg debut, and adds the following repertoire in her home house of Hannover: She debuts the roles of Desdemona in a new production of Otello, Agathe in Der Freischütz, Madame Lidoine in Dialogues des Carmélites, and the soprano soloist in Sibelius' Op. 3 and Op. 70 "Luonnotar. She also returns to the roles of Fiordiligi in a new production of Così fan tutte, Donna Anna in Don Giovanni, Micaela in Carmen, Erste Dame in Die Zauberflöte, and her breakout role of Rachel in the revival of Hannover's lauded La Juive.
Recent seasons included debuts with Palm Beach Opera, Central City Opera, Austin Opera, Oper Stuttgart, and Theater Basel, and returns to the Salzburger Landestheater North Carolina Opera, and Florida Grand Opera. Concert appearances included the inaugural tour with the Columbia Bel Canto Trio, The Santa Fe Symphony, the Music in the Alps Festival, and debuts at the Alte Oper Frankfurt and Konzerthaus Dortmund with the Hessischer Rundfunk Sinfonieorchester under the baton of Andrés Orozco-Estrada. She was the winner of the Österreichischer Musiktheaterpreis (Austrian Music Theater Prize in Opera) in the category of 'Best Female Leading Role' for her performance as Alma Beers in Brokeback Mountain (2016) in her breakout European debut at the Salzburger Landestheater.
Critics are saying...
"Hailey Clark as Rachel had enough power for the finale with her big, wonderfully timbred soprano and also found the right colors for the intimate passages of her romance "Il va venir" in the second act."
- DAS OPERNGLAS
"As Fiordiligi, Hailey Clark triumphed in “Come scoglio” and “Per pietà,” displaying little trouble with the former's leaps and bounds, while acquiring a warm, floating soprano and effortless trills in the latter."
"HAILEY CLARK, MAKING HER CCO DEBUT, IMMEDIATELY DREW IN THE CROWD WITH HER STRIKING STAGE PRESENCE AND HER ASTONISHING VOCAL CONTROL. CLARK'S PERFORMANCE IS A MASTERCLASS IN HOW TO FULLY INHABIT AND DEVELOP A CHARACTER — ALL WHILE DAZZLING WITH AN INEFFABLY BEAUTIFUL VOICE. BOTH ARIAS DREW SUSTAINED APPLAUSE." - THE DENVER POST