Lauded by the San Francisco Chronicle for an ease with coloratura that one hears “blazing forth brightly” as well as her “lyrical phrasing sweetly rendered,” soprano Suzanne Ramo recently brought her crystalline soprano to Mahler’s Symphony No. 4 with Chamber Music Amarillo, and reprised the role of Violetta in La traviata with Amarillo Opera, a performance which was broadcast on PBS. She also presented her lecture recital, “Emotional Extortion and Sacrifice: The Father-Daughter Relationship in Verdi Opera” at Centenary College in Shreveport, LA. Recent performances include Beethoven Symphony No. 9 with the Amarillo Symphony and Orff’s Carmina Burana with Ballet Austin. Suzanne earned a nomination for an Austin Critics’ Table Award as Best Singer of the 2008-2009 season for her portrayal of Sister Constance in Les dialogues des Carmélites with Austin Opera, and a second nomination for her performance in Brahms’ Ein Deutches Requiem with the Austin Choral Consort in 2013. Declared “a highlight of any Austin Opera production she joins” by the Austin American-Statesman, she has previously joined the company as Rosalinde in Die Fledermaus, Stella in Previn’s A Streetcar Named Desire, and Zerlina in Don Giovanni.

 

Other performances include the title role of Donizetti’s Rita with Laredo Philharmonic Orchestra; Susanna in Le nozze di Figaro with Berkshire Opera; Musetta in La bohème with Utah Opera; Violetta in La traviata; Micaela in Carmen, Rosalinde in Die Fledermaus with Austin Opera and Amarillo Opera; Madame Mao in Adams’ Nixon in China with the Colorado Music Festival; Fiordiligi in Così fan tutte with City Opera of the Quad Cities; and Najade in Ariadne auf Naxos with Tulsa Opera. With the San Francisco Opera she sang the title role in The Ballad of Baby Doe, Der Königen der Nacht in Die Zauberflöte, Woglinde in both Das Rheingold and Götterdämmerung, and Der Waldvogel in Siegfried, in addition to joining the company for its productions of Rigoletto, Falstaff, Der Rosenkavalier, and Semele. Also under the auspices of San Francisco Opera, she sang the title role of La Calisto, Miss Wordsworth in Albert Herring, and Elvira in L’italiana in Algeri in California, as well as Violetta in La traviata on tour with the Western Opera Theater.

 

A prolific interpreter of oratorio and concert repertoire, she has joined the Philharmonia Baroque Orchestra under the baton of Nicholas McGegan for Beethoven’s Christus am Ölberge, the Laredo Phil for Mahler’s Symphony No. 4, Modesto Symphony for Beethoven’s Symphony No. 9, Stanford University as guest soloist for Mozart’s Mass in c minor, as well Orff’s Carmina Burana with the Orquesta Sinfónica Nacional de Panamá at the Alfredo Saint-Malo Festival. Especially sought after for concert performances in her home of Texas, she has sung acclaimed performances of Strauss’ Vier letzte Lieder and Dubois’ Seven Last Words of Christ with the Laredo Philharmonic Orchestra, Handel’s Messiah and Poulenc’s Gloria with the Austin Symphony Orchestra, Knoxville: Summer of 1915 with the Victoria Symphony, Brahms’ Ein Deutsches Requiem with the Brazos Valley Symphony, Mozart’s Requiem with Musica Ecclesiae in Austin, in addition to concerts of Broadway favorites with the San Antonio Symphony and Victoria Symphony.

 

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