Lori Brown-Mirabal recently sang the title role in a world premiere opera called GABRIEL’S DAUGHTER at the Central City Opera in Colorado….Last Spring she was filmed in a movie ‘The Secret Lives of Dentists’ where she is a featured ‘opera singer’. At the Grand Theatre in Geneva, Switzerland and L’Opera de Lyon, France she sang the role of ‘Adelaide Bobo’ in the world premiere of the ‘electronic’ opera LES NEGRES, for which a London paper noted: ‘Lori Brown-Mirabal’s acting gave focus to the piece”. Ms. Mirabal was specifically selected for that role by the composer Michael Levinas. At the Utah Festival of Opera she earned huge applause for her performances as ‘Lalume’ in KISMET. She returned from her second trip to China, where she sang as a guest soloist in concerts sponsored by the United States and China Foundation and was the featured solo artist in a television documentary ‘Aida’s Brothers and Sisters’ which was shown on the PBS ‘Great Performance’ series.

In concert halls, opera houses and theatres throughout the United States and abroad, Ms. Mirabal has sung a variety of musical styles and she has worked with such artists as Luciano Pavarotti, Placido Domingo, Leo Nucci, Mignon Dunn, Hal Prince, Susan Stroman and the late Cab Calloway…

Some of her recent roles include: New York City Opera National Tour (Carmen), L’Opera de Monte Carlo (Lola, Cavalleria Rusticana), DiCapo Opera New York (Lucretia/The Rape of Lucretia, Charlotte/Werther) State Repertory Opera of New Jersey (Augusta/The Ballad of Baby Doe). Central City Opera (Tituba/The Crucible), Carnegie Hall New York (Soloist/West Side Story Suite) and on Broadway’s Gershwin Theatre (Queenie/Showboat), More recently she covered the role of ‘Sister Rose’ in the world premiere of DEAD MAN WALKING at the San Francisco Opera.

UPCOMING PERFORMANCES ARE:
‘Gabriel’s Daughter’ title role at Mission City Opera, Santa Clara, California with composer Henri Mollicone conducting.
The ‘Mother’ in ‘Amahl and the Night Visitors’ plus soprano
Soloist in ‘Elijah, New Jersey…

Ms. Mirabal created a series of children’s programs called ‘Opera for the Very Young’, which she performs throughout New York and New Jersey. These shows introduce young children to music and musical instruments…

A native of Tennessee, Ms. Mirabal is a graduate of the University of Memphis with a Bachelor’s Degree in Fine Arts. She also has a Master’s Degree in Voice Performance from Manhattan School of Music where she received a scholarship from Oprah Winfrey. In addition, Ms. Mirabal received a Fellowship for advanced study in the Opera Department at Juilliard. Currently, she is enrolled in the Doctoral Studies program at Columbia University’s Teacher’s College where she will focus on creating Children’s Music Programs….

Ms. Mirabal is currently collaborating on a series of children’s picture books about music and a children’s opera…. She lives in Maplewood, New Jersey, with her husband and young daughter.

Education
Manhattan School of Music, MM/University of Memphis, BFA/The Juilliard School, Opera Center/AIMS, Graz Austria

Television & Radio Recordings
Aida’s Brother’s and Sisters -- Featured singer with Opera Ebony in this documentary film presented on PBS

New Jersey’s Talking -- Television Interview with Lee Leonard and conductor Alfredo Scilipigni of the New
Jersey State Opera on News 12 New Jersey

The Listening Room -- Radio interview with Robert Sherman and conductor Michael Spierman of the Bronx
Opera Theatre on WQXR, NY

“Geliebter Komm” --- Promotional CD of contemporary songs and arias accompanied by conductor David P.
Maiullo at the piano

Community Outreach Programs
Opera for the Very Young – A series of children’s shows designed by Lori Brown Mirabal to introduce youngsters to opera. These shows are toured throughout New York and New Jersey.

“Kangaroo Koncerts” – A series of children’s shows produced by Lori Brown Mirabal to introduce youngsters to concert music/musical instruments and world cultures. These shows are performed at the Jewish Community Center in Tenafly, New Jersey.

Recent Reviews:
As Aunt Clara Brown:
…”Lori Brown Mirabal as Clara Brown is a formidable presence on the opera stage, vocally and as an actor. Her performance wrenched tears from an adoring opening night crowd.” –David Marlowe, OUT FRONT (Coloradao)

…”Lori Brown Mirabal’s substantial, low mezzo-soprano and adroit acting admirably conveyed the self-assurance and presence Brown must have possessed….The pioneer woman is on stage virtually the entire opera, presenting an extraordinary endurance test for any singer in the role, one that Mirabal handled with seeming ease.” --Kyle MacMillan, THE DENVER POST (Colorado)

…Lori Brown Mirabal sang the title role of impossible demands, constant presence and a great deal of singing over the opera’s three-hour length…Mirabal turned in a gripping musical performance.” –Janos Gereben, SAN FRANCISCO CLASSICAL VOICE (California)

As Charlotte:
…Lori Brown Mirabal sang Charlotte, Werher’s love interest, with beauty and ease…Her voice projected a warmth and richness that made us see why Werther was so in love with her.” –John R. Murelle, CAPE COD TIMES (Massachusetts)

As Tigrana:
…with a churning sound, Lori Brown Mirabal proved spirited in the role that is one part Abagaille, one part Carmen and one part Venus…” –David Shengold, GAY CITY NEWS, (NYC)

As Carmen:
…”Throughout the presentation the audience could not keep their eyes from Lori Brown Mirabal. Exceptional in the arias of seduction, she embodies a Carmen vocally and dramatically perfect. Conductor, Paul Kuentz affirms: “this sort of Carmen has not been seen in a long time and it will not be reproduced for a long time to come”…” –Arsis, LE TELEGRAMME (Brest, France)

… “She has it all: richly expressive mezzo-soprano, strikingly good looks, and sparks which reached across the footlights to sell each and every aria.” –Paul Somers, CLASSICAL NEW JERSEY

As Lucretia in The Rape of Lucretia:
…“Lucretia makes a late entrance in her own story, but the rich smooth mezzo of Lori Brown Mirabal was worth the wait. This short role runs the gamut of serenity, passion, shame, hysteria and suicidal despair, emotions presented convincingly. The gavitas of Mirabal's stage presence befitted a patrician housewife…” –Paul J. Pelkonen, OPERA NEWS, NY

As Augusta Tabor in The Ballad of Baby Doe:
… “Mezzo-Soprano Lori Brown Mirabal got the juiciest role, that of the spurned Augusta; her performance was focused emotionally and smoothly delivered” –Willa J. Conrad, THE STAR LEDGER, NJ

As The Goddess Diana in Iphigenie en Aulide:
… “Lori Brown Mirabal’s moment as Diana warmed the stage as no one else managed to do” – Bernard Holland, THE NEW YORK TIMES, NY

As Tituba in The Crucible:
… “Tituba was very effectively portrayed by Lori Brown Mirabal. Her voice reminds one of a young Leontyne Price, and her acting ability is outstanding. When she portrays madness in the final act…it’s very powerful emotionally…” – Anne and Bob Hunter, WEEKLY REGISTER-CALL, (Central City, CO)

As Monisha in Treemonisha:
…”A real charmer: a fine actress with sound that shimmers and pulses with intensity. Her’s is an instruments that’s bound to be heard often on major opera stages” –La Fleur Paysour, THE CHARLOTTE OBSERVER, NC

As Adalgisa (excerpt from Norma sung in Luciano Pavarotti Master Class at Juilliard):
…“He (Luciano Pavarotti) blew a kiss to Lori Brown Mirabal, who sang a diva’s version of a piece by Bellini” –(reviewer not listed) THE NEW YORK TIMES

On the CD, Geliebter Komm:
…”Remarkable talent! You communicate the drama of each song. I’m proud my song is included on your CD.” –Karen I. Kramer, COMPOSER