American dramatic soprano Heidi Melton has been called “the Wagnerian voice we have been waiting for since Flagstad and Nilsson” (La Presse), a voice that is “big, gleaming and tonally resplendent” (San Francisco Chronicle).

Heidi opens the 23/24 season with a debut at the St. Louis Symphony Orchestra for concert performances of Cavalleria rusticana (Santuzza) conducted by James Gaffigan. Other season highlights include a debut with the Minnesota Orchestra in Erwartung and a return to Netherlands Radio Philharmonic Orchestra for Unsuk Chin’s Alice in Wonderland (Queen of Hearts).

Last season she debuted at Seattle Opera in Tristan und Isolde (Isolde). On the concert stage, she debuted with Orquestra Simfònica de Barcelona i Nacional de Catalunya in Vier letze Lieder, New World Symphony for a program of Wagner selections, and the Colorado Springs Philharmonic for Beethoven’s Egmont. Heidi returned to the Netherlands Radio Philharmonic Orchestra for Le grand macabre (Mescalina) followed by a return to Royal Stockholm Philharmonic Orchestra for Act II of Tristan und Isolde with Karina Canellakis.

Recent engagements include Act I of Die Walküre (Sieglinde) in her debut with the Royal Stockholm Philharmonic Orchestra, Karina Canellakis conducting, and the Quad Cities Symphony Orchestra, conducted by Mark Russell Smith. Additional engagements included returns to the Badische Staatskapelle for Erwartung, Justin Brown conducting and Deutsche Oper Berlin for Hänsel und Gretel (Gertrud).

In previous seasons, Heidi debuted at Opernhaus Zürich for Le grand macabre (Mescalina) and returned to Badisches Staatstheater Karlsruhe for performances of Götterdämmerung (Brünnhilde), following critically acclaimed performances of the entire Der Ring des Nibelungen. She also debuted with NDR Elbphilharmonie Orchestra and Alan Gilbert in Le grand macabre (Mescalina). Ms. Melton recently returned to the New York Philharmonic for Act I of Die Walküre (Sieglinde) and with the Dallas Symphony for complete concert performance of Die Walküre (Brünnhilde), both conducted by Jaap van Zweden. She sang Mahler’s Symphony No. 8 (Una poenitentium) with Tonkünstler Orchester and Andres Orozco-Estrada in Vienna. In New York City, she sang a recital for the George London Foundation at the Morgan Library and debuted with the London Symphony Orchestra and Berlin Philharmonic in Ligeti’s Le grand macabre under Simon Rattle.  She returned to the Hong Kong Philharmonic in concert performances of Siegfried (Brünnhilde) which was recorded for Naxos, debuted at Houston Grand Opera in Götterdämmerung (Gutrune), and recorded Tristan und Isolde with Valery Gergiev and the Mariisnky Orchestra.

Ms. Melton made an auspicious debut with the Vienna Philharmonic singing the “Immolation Scene” from Götterdämmerung under the baton of Valery Gergiev, both in Vienna at the Musikverein and in New York at Carnegie Hall. She made her New York Philharmonic debut with Alan Gilbert in Strauss Lieder and Act 3 of Die Walküre (Brünnhilde). For the Hong Kong Philharmonic with Jaap van Zweden, she sang complete concert performances of Die Walküre (Sieglinde) which were recorded on Naxos. She returned to the Deutsche Oper Berlin for Tannhäuser (Venus/Elisabeth) with Donald Runnicles, as well as to Badisches Staatstheater Karlsruhe for her first performances as Isolde in a new Christopher Alden production of Tristan und Isolde conducted by Justin Brown. Ms. Melton debuted at the English National Opera in a new production of Tristan and Isolde conducted by Edward Gardner.

Heidi debuted at Oper Frankfurt in two new productions: Hänsel und Gretel (Gertrud) and in Weber’s Euryanthe (Eglantine). A favorite to the audiences in Berlin, she has been seen at the Deutsche Oper in Der Ring des Nibelungen (Gutrune and Third Norn) under Simon Rattle, then as Sieglinde, Gutrune, and the Third Norn all under Donald Runnicles. In Berlin, she has also been seen in Lohengrin (Elsa), Un ballo in Maschera (Amelia), a new Robert Carsen production of Love for Three Oranges (Fata Morgana), and Hänsel und Gretel (Gertrud). Ms. Melton debuted Die Walküre (Sieglinde) under the baton of Zubin Mehta at Palau de les Arts Reina Sofía in Valencia and at the Canadian Opera Company with Johannes Debus. Her first Siegfried (Brünnhilde) was heard in concert with Opéra National de Bordeaux, and she had a successful return to The Metropolitan Opera in the new Robert Lepage production of Der Ring des Nibelungen (Third Norn) under Fabio Luisi, which was released commercially on Deutsche Grammophon.

Ms. Melton made her Italian debut under Kirill Petrenko with Orchestra Sinfonica Nazionale della RAI in Torino in a concert performance of Götterdämmerung (Gutrune and Third Norn), and made her debut at the BBC Proms in a concert performance of Tannhäuser (Elisabeth) with Donald Runnicles and the BBC Scottish Symphony Orchestra. In frequent demand by many orchestras and conductors, Ms. Melton has been heard with Dallas Symphony under Jaap van Zweden, BBC Scottish Symphony under Donald Runnicles, and Montreal Symphony Orchestra with Kent Nagano in Act 1 of Die Walküre; the Baltimore Symphony in Act 1 of Die Walküre and Isolde’s “Liebestod” under Marin Alsop and Vier letze Lieder with Markus Stenz; the Netherlands Radio Philharmonic Orchestra in Eine Lebensmesse by Jan van Gilse under Markus Stenz and Rusalka (Foreign Princess) with James Gaffigan; at the Festival de Lanaudière singing in Lohengrin (Elsa) under Yannick Nézet-Séguin with his Orchestre Métropolitain and an opening season gala concert singing Wagner; at the Aspen Music Festival under Robert Spano in Mahler’s Symphony No. 8 and a Wagner/Verdi program; Real Filharmonía de Galicia in Wagner’s Wesendonck-Lieder under Paul Daniel; and in Verdi’s Messa da requiem for Donald Runnicles’ farewell concert as Music Director of San Francisco Opera. Ms. Melton made her New York recital debut at Pace University’s series “Voce at Pace” and returned to San Francisco for a recital at San Francisco Performances, both with pianist John Parr.  She opened a special gala celebrating 100 years of the Deutsche Oper Berlin singing Elisabeth's Greeting to the Hall of Song.

Ms. Melton made her debut at The Metropolitan Opera in Elektra (Second Maid) under Fabio Luisi. A former Adler Fellow at the San Francisco Opera, she made her role debut as Sieglinde at San Francisco Opera in a new production of Der Ring des Nibelungen by Francesca Zambello and conducted by Donald Runnicles. At Opéra National de Bordeaux, she has been seen in Ariadne auf Naxos, Tannhäuser, and Un ballo in maschera. For North Carolina Opera, Ms. Melton sang her first performances of Tristan und Isolde in a concert version of Act 2, as well as Rusalka (Foreign Princess). She was a member of the ensemble at Badisches Staatstheater Karlsruhe where she sang new productions of Lohengrin, Les Troyens, Tannhäuser, Peter Grimes, Un ballo in maschera, Die Fledermaus, as well as revival performances of Der Rosenkavalier and Der Ring des Nibelungen.

Ms. Melton is the recipient of many prestigious awards and prizes: George London Foundation’s George London / Kirsten Flagstad Memorial Award; José Iturbi Competition; Sara Tucker Study Grant from the Richard Tucker Music Foundation; third place in the Belevedere Competition; national semi-finalist at the Metropolitan Opera National Council Auditions; and winner of the Mario Lanza Competition.

Ms. Melton proudly shares her expertise with Turn The Spotlight, a foundation working to identify, nurture, and empower leaders – and in turn, to illuminate the path to a more equitable future in the arts. Turn The Spotlight offers mentorship by and for exceptional women, people of color, and members of other equity-seeking groups in the arts.