AMY BROADBENT
SOPRANO
CONDUCTOR
COMPOSER-ARRANGER
“Consummate poise, limpid clarity, and faultless intonation”
(Washington Classical Review)
Acclaimed for vibrant and engaging performances of oratorio, art song, opera, and chamber music, Amy Broadbent is a sought-after interpreter of a wide range of vocal music, from the music of Bach & Handel through newly-composed works. Amy has performed as a soloist with the Oregon Bach Festival, Washington National Cathedral, Lancaster Symphony Orchestra, Folger Consort, Staunton Music Festival, Bach Choir of Bethlehem, Washington Bach Consort, The Thirteen, and the New York Choral Society. She has been presented as a recitalist for Dumbarton Concerts, Music on the Lake, Bach to You, Baroque and Beyond, and the Chautauqua Institution. Onstage, she created the role of Sebastian in Scott Ordway’s opera The Outer Edge of Youth, her recording of which was acclaimed by Opera News (Critic’s Choice), Gramophone, and BBC Music Magazine. Other roles include Pamina (Die Zauberflöte), Bastienne (Bastien und Bastienne), Papagena (Die Zauberflöte), Johanna (Sweeney Todd), La Statue Animée (Pygmalion), Josephine (H.M.S. Pinafore), Elsie (The Yeoman of the Guard), and Ms. Jessel (The Turn of the Screw). Amy won first-place in the Audrey Rooney Bach Competition (Kentucky Bach Choir) and the National Society of Arts and Letters’ Winston Voice Competition, and was a prizewinner for the Lyndon Woodside Oratorio-Solo Competition (New York Oratorio Society) at Carnegie Hall, the Annapolis Opera Competition, the Bach Vocal Competition for American Singers (Bach Choir of Bethlehem), and the Franco-American Grand Concours Vocal Competition.
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A multi-faceted musician devoted to ensemble music, Amy is a founding member of vocal quartet The Polyphonists, and has lent her voice to award-winning ensembles including The Crossing, Seraphic Fire, True Concord, The Choir of Trinity Wall Street, Santa Fe Desert Chorale, and the Choir of the Basilica. Amy’s own compositions and arrangements have been broadcast nationally and performed at venues including the White House, Washington National Cathedral, and the Basilica of the National Shrine. From 2018-2020, she served as Assistant Conductor for the Victorian Lyric Opera Company, where her conducting was hailed as “stellar… a balletic piece of choreography” (Ruby Griffith Award) in performances of The Gondoliers, Princess Ida, H.M.S. Pinafore, and The Pirates of Penzance. She is the Assistant Conductor of the U.S. Navy Sea Chanters, the official chorus of the U.S. Navy. Amy holds degrees in voice and conducting from the University of Maryland, and her teachers include Elizabeth Daniels, Gran Wilson, Carmen Balthrop, and Edward Maclary.​
PRESS
...Levin weaves fleeting moments of beauty laced with longing and vulnerability, and which Amy Broadbent delivers with aching intensity.
Gramophone
"Soprano Amy Broadbent brings a lightly shimmering, flexible soprano to Sebastian. Her voice throbs with emotion as Sebastian works out what has happened to his friend. She's quite moving in her final aria, accompanied by the birds' swirling vocalises..."
Opera News
Amy Nicole Broadbent was the conductor... and she was stellar. Her movements were almost a balletic piece of choreography.
Ruby Griffith Award for "All Round Production"
The statue was charmingly animated by soprano Amy Broadbent, who also supplied comic evocations of the statue’s Frankenstein dilemma — the difficulty any newly humanized creature faces in learning to walk, curtsey, and dance
San Francisco Classical Voice
The statue was charmingly animated by soprano Amy Broadbent, who also supplied comic evocations of the statue’s Frankenstein dilemma — the difficulty any newly humanized creature faces in learning to walk, curtsey, and dance.
San Francisco Classical Voice
The Thirteen closed the concert with an encore of Broadbent’s own arrangement of Stephen Foster’s “Hard TimesCome Again No More,” a nudge toward hope that felt like an appropriate send-off.