Alize Rozsnyai

• Kate Neal Kinley Memorial Fellowship Winner, ($23,000)
• Amaranth Fellowship Full-Tuition Scholar, Curtis Institute of Music
• Musical Merit Foundation of Greater San Diego, Grand Prize Winner and Winner of the Aspen Prize
• POSA Professional Opera Singers Association, 1st Place Winner in Division
• Carmel Music Society Competition, 3rd Place
• Lotte Lenya Competition, Semi-Finalist
• American Traditions Competition, Quarter-Finalist
• Fausto Ricci International Competition, Finalist
• Bev Sellers Memorial Scholarship Recipient
• Astral Artist National Auditions, Finalist
• Lois Alba Aria Competition, Finalist
• Bel Canto Foundation, Scholarship Winner
• Camerata Bardi International Competition, Finalist
• Palm Beach Opera Competition, Encouragement Award Winner
• Vincero International Competition, Regional Semi-Finalist
• CRITICAL ACCLAIM:
• “...how much I appreciated [her] wonderful performance of all that very challenging and varied repertoire. [She] sang just beautifully and also with such meaning and expression. I admire [her] artistry very much.--Thoughts from Composer Tom Cipullo in attendance for Five Ways to Die, Experiments in Opera, 2023
• "Alize Francheska, impresses as Morgana. She attacks the melismatic demands of “Tornami a
• vagheggiar” ("Come Back to Woo Me") with practiced ease and accentuates the besotted naiveté of her character, who believes Bradamante actually loves her." --Broad Street Review, Alcina REVAMPED, 2021
• -"...In particular, Alize Rozsnyai who played Phyllis, the shepherdess and ward of court. She had a superb voice which carried right through the auditorium."
• --Harrogate News, Iolanthe at the International Gilbert & Sullivan Festival 2018
• -- "Rozsnyai brings her terrific singing to "soon"...Some of the best singers are performers who are
• making their debut with ActorsNET. In playing Anne, Rozsnyai sings with power and also brings
• intelligence to the young woman married to an older man...The cast also gets a lot of laughs. Anne talks about knowing Fredrik since she was a child. He was a friend of her father’s and she used to call him Uncle Fredrik. “And now you’re my husband, isn’t that amusing?” Anne asks. Rozsnyai delivers the line perfectly and Hartpence’s reaction is priceless."
• --CentralJersey.com, Stephen Sondheim's A Little Night Music 2018
• -- "The jagged coloratura of Hilda’s mad scenes recall Berg, a beautiful duet for Hilda and young lover Elizabeth recalls Richard Strauss...Some of the most beautiful singing came from sopranos Sarah Shafer and Alize Rozsnyai as Elizabeth and Hilda, respectively."
• --Bachtrack, Elegy for Young Lovers by H. W. Henze with Opera Philadelphia and Curtis Opera Theatre
• --"But, another John Cage composition, Aria, was a showstopper, led by a sparkling performance from soprano Alize Rozsnyai, who used many props to bring this solo piece to life: camera, match, soda can, and other objects. These were all in the spirit of the aria’s entertaining but super random nature. Cage’s composition is vocally demanding, asking the soprano to spin descending vocal lines straight into eccentric character in spoken word — one after the next, showcasing Rozsnyai’s acting prowess. Flipping from singing to speaking can get tiring very quickly and Rozsnyai made it seem like this was another day in the office for her." --ArtBlog, Cage Aria with Arcana New Music Ensemble
• --"Alize Rozsnyai and Calder Craig—as his protagonists wading through memories of a recently
• deceased loved one—carried out an incredibly topical score/script and remained stone-faced as they talked (in perfect 4/4 time) about the value of having a church job, disliking Arizona, and the travesty of how there’s “no wifi at the beach.” Costume changes, circular narrative, and Rozsnyai’s deliciously diva performances matched with Craig’s soothing, calm baritone made this almost-too relatable work radically enjoyable."
• --I Care If You Listen, Candy Corn, world premiere by Jason Cady with Experiments in Opera
• --"Just as the Purcell opera was headed toward its ultimate conclusion - Dido's great aria "When I am laid into earth" - Rozsnyai broke into a wild vocal cadenza that turned out to be Luciano Berio's 1965 Sequenza III. Rozsnyai seemed alternately to be having a seizure and singing in tongues, though you soon realized she was displaying profound imagination and control."
• --Philadelphia Inquirer, Dido and Aeneas + with Curtis Opera Theatre

Alize Francheska Rozsnyai, a "sparkling" (ArtBlog) coloratura soprano “displaying profound imagination and control” (Philadelphia Inquirer), is a graduate of The Curtis Institute of Music. Recent engagements include a debut with St. Petersburg Opera covering the role of Morgana in Alcina by Handel, Soprano Soloist in Schoenberg's Quartet No. 2 with Kaleidoscope Chamber Orchestra in Los Angeles, an opera-in-development, Five Ways to Die, with Experiments in Opera NYC, and Alize will perform as Frasquita in Carmen with Boheme Opera NJ in the Spring of 2024. Recently, she performed as Serpina in La Serva Padrona with Hub City Opera, Katherine Hutchinson in Silk City with Garden State Opera, Rivka in the world premiere of Part I of Misha Dutka's Liebovar with Opera Boheme, Zina in Nico Muhly’s Dark Sisters with Opera Fayetteville, Soloist in Beth Morrison Projects' Next Gen Concert with Contemporaneous Ensemble at National Sawdust, and Phyllis in Iolanthe at the International Gilbert & Sullivan Festival in Harrogate, England. Rozsnyai has also performed with Rossini Opera Festival in Pesaro, Den Nye Opera in Bergen, Norway, Opera Philadelphia, San Diego Opera, Chautauqua Opera, Seattle Symphony [Untitled 3] Series, Carnegie Hall, The Kennedy Center, Center for Contemporary Opera, and favorite credits include Adina (l’elisir d’amore), Cleopatra (Giulio Cesare), Susanna (le nozze di Figaro with The Princeton Symphony), Blanche de la force (Dialogues des Carmélites with Opera Philadelphia and Curtis), Hilda (Elegy for Young Lovers-Henze), Ilia (Idomeneo), Eurydice (Orphée aux enfers in Dordogne, France), La Fée (Cendrillon with Trentino Music Festival), Königin der Nacht (Die Zauberflöte with Den Nye Oper Orchestra, Bergen, Norway), Thérèse (Les Mamelles de Tirésias), and concert, Soprano Soloist in Orff’s Carmina Burana (Cape Cod Symphony).