Opera News hailed that "Michelle Trainor gave one of the most satisfying performances of the evening...her voice is richer and more expressive than ever" for her portrayal of Brangain in Boston Lyric Opera's The Love Potion. The Musical Interlligencer has called Michelle Trainor, the kind of classic opera soprano whose glorious, powerful sound raises every hair on your body and makes you melt at the wonder of the human voice" for her performance of Isolde's Liebestod.
Michelle is excited to be a part of an exciting world premier in the 2017/2018 season. The amazing new opera The Nefarious, Immoral But Highly Profitable Enterprise of Mr. Burke & Mr. Hare features music from Julian Grant and a libretto by Mark Campbell. Ms. Trainor will be creating the role of Helen McDougal, Burke's girlfriend in this wonderful new work based on a true story.
The 2016/2017 season opens with Ms. Trainor's debut with Boston Symphony Orchestra as the Milliner in the Strauss favorite Der Rosenkavalier. She joined the Brookline Symphony Orchestra for Isolde's Liebestod from Wagner's Tristan und Isolde. Michelle will be returning to the Boston Lyric Opera stage as Marcellina in Mozart's Le Nozze di Figaro and will be making her debut with Odyssey Opera as Ghita in Zemlinsky's Der Zwerg.
2015/2016 brought Michelle back to New Hampshire at First Church where she sang Nicholas White's Magnificat. She reprised the role of Tosca with La Forza dell' Opera in Brooklyn, NY and returned to Boston Lyric Opera for their production of The Merry Widow.
2014/2015 season Michelle took on the challenging role of Brangain in Martin's The Love Potion to much critical
acclaim and she revived her role as Suor Angelica with
Metro West Opera where she was was nominated for Best Female Performer in an Opera by ArtsImpulse.
In 2013/2014 she sang a staged version of Schubert's early song Hagar's Lament as well as the Second Lady in
Mozart's The Magic Flute. Her concert work included
Beethoven's Ninth Symphony and Haydn's Missa in
Angustiis. As a Boston Lyric Opera Emerging Artist she hassung roles in their productions of Hansel and Gretel, Macbeth, The Inspector, The Magic Flute and The Love
Potion. Michelle recorded the Schubert’s Hagar’s Lament on the BIS label with Boston Lyric Opera and is a frequent performer in the BLO Signature Series at the Museum of Fine Arts, Boston.
Michelle's awards include: Winner of Boston Lyric Opera's Shrestinian Award for Excellence, First Place Winner of the New Jersey Verismo Opera Competition, St.. Botolph Club Grant Winner, First Place Winner of the Peter Elvins' Competition, First Place Winner of the New England Regional NATSAA, NATSAA National Finalist and Winner of the Berton Coffin Award. Ms. Trainor was a finalist in the Concorso Lirico di Ferdora Barbieri, Career Bridges Grant Award as well as the Rochester Oratorio Society Vocal Competition.
Equally at home with concert repertoire, Ms. Trainor has performed works such as Mozart's Requiem, Mass in C Minor, Solemn Vespers and his Missa Brevis in B Flat as well as Mahler's Eighth Symphony, Beethoven's Ninth Symphony, Haydn's Missa in Angustiis and Vaughan Williams' A Sea Symphony. Ms. Trainor made her Carnegie Hall debut as a soloist in Mahler's Eighth Symphony with Canterbury Choral Society. She has performed at Boston's First Night and has sung works with the Composers in Red Sneakers. She joined the stage of Boston Ballet in their production of A Midsummer Night's Dream as the soprano soloist.
“it’s certainly wonderful to hear the Schubert in any case, especially in Michelle Trainor’s gleaming rendition.”
“Michelle Trainor displayed a powerful, penetrating soprano as Brangain.”
~The Wall Street Journal
“Michelle Trainor’s Brangain was a force of nature. Martin gives her much music of despair, and Trainor made the most of her brief moments of high drama.”
~The Boston Musical Intelligencer
“And soprano Michelle Trainor, who gave a delightful comic performance last season in John Musto's Inspector, proved herself equally adept at drama as Hagar in Schubert's Lament.”
"The Sister Angelica of Michelle Trainor was the standout. She projected a compelling vocal glamour at every level of delivery and traced the characters disintegration with complete engagement and believability. This is what Italian opera is about. The last ten minutes of the production featuring Angelica’s interaction with the evil stepmother/princess of an extremely haughty and colorful contralto Jessica Johnson produced an overwhelming dramatic effect and run on Kleenex."
~The Boston Musical Intelligencer