Constance Fee, M.M.

Voice, Opera, Diction



Constance Fee has performed leading roles with the Opéra National de Paris la Bastille, Opéra Comique, and Théâtre du Châtelet in Paris; Netherlands Opera; New Israeli Opera; Welsh National Opera; l’Opéra Royal de Wallonie, Belgium; Vienna Volksoper; the opera houses of Stuttgart, Cologne, Kassel, and Bremen, Germany; Lucerne, Switzerland; Lyon, Toulouse and Angérs, France; and in the US with Houston Grand Opera, Opera Theatre of Saint Louis, Long Beach Opera and Lyric Opera of Kansas City. She has collaborated with conductors Sir Charles Mackerras, Jesus Lopez-Cobos, Lorin Maazel, David Robertson, Myung-Whun Chung, Leonard Slatkin, Maurizio Benini, Patrick Summers, John Nelson, Sir Alexander Gibson, and Nicholas McGegan; and with stage directors Colin Graham, John Cox, David Alden, GianCarlo del Monaco, Robert Wilson, François Rochaix, Patrice Caurier and Moshe Leiser.

Described in OPERNWELT Berlin as “vocally brilliant, dramatically spontaneous, and thoroughly alive,” her repertoire of over fifty soprano and mezzo-soprano roles includes the title roles in Puccini's Tosca, Bizet's Carmen, Rossini's La Cenerentola, Donizetti's La Favorite, and Der Rosenkavalier by Richard Strauss, as well as Brangäne in Wagner's Tristan und Isolde; Der Komponist in Ariadne auf Naxos by Strauss; Ascanio in Benvenuto Cellini by Berlioz; Charlotte in Massenet’s Werther; Augusta Tabor in Douglas Moore’s The Ballad of Baby Doe; Giulietta and Nicklausse in Offenbach’s Les contes d’Hoffmann; Marina in Mussorgsky's Boris Godunov; Dorabella in Cosí fan tutte, Cherubino in Le nozze di Figaro, and Idamante in Idomeneo by Mozart; and Rosina in Il barbiere di Siviglia and Isolier in Le comte Ory by Rossini.

On the concert stage she was the soloist with the Czech Philharmonic Orchestra at the Rudolfinum in Prague in Chausson’s Poème de l’amour et de la mer and the Poulenc Stabat Mater in televised concerts celebrating the orchestra’s 100thanniversary; she has also performed as soloist in Mendelssohn’s Elijah at the Internationale Musikfestwochen in Lucerne, Switzerland; with the Orchestre Symphonique Français in Honegger’s Jeanne d’arc au boucher at Salle Pleyel in Paris, recorded by Musique à Flaine/Beaufour; with the Orchestre Symphonique de la Radio Télévision Moscou in La damnation de Faust by Berlioz at the International Festival of Besançon, France; with the New York Philharmonic at Lincoln Center in Schumann’s Das Paradies und die Peri; the Saint Louis Symphony in Beethoven’s Symphony No. 9 and Handel’s Messiah; the Milwaukee Symphony in Beethoven’s Mass in C; the Indianapolis Symphony in Handel's Messiah; the San Diego Symphony in the Mozart Requiem; the Lexington Philharmonic in the Verdi Requiem; in Bach's St. Matthew Passion with Robert Shaw at Riverside Church in New York City; the Rossini Stabat Mater and Mahler's Kindertotenlieder with the Kasseler Staatsorchester; and in concert with pianist Rudolf Serkin at the Marlboro Music Festival.

In past seasons, Ms. Fee has performed often on the Live from Hochstein recital series on Rochester’s WXXIfm; with the Rochester Chamber Music Society; the Rochester Philharmonic/RPYO in Górecki’s Symphony No. 3 at Eastman’s Kodak Theater; and as guest soloist for the Opera Guild of Rochester. A frequent competition adjudicator and clinician, she is a regular panelist for the Rochester Oratorio Society’s Classical Idol Competition. She served on the Alumni Council of her alma mater, Westminster Choir College, for over 10 years, most recently as President and she is currently president of the Westminster Foundation.  Ms. Fee has taught voice and French diction on the faculty of the Franco-American Vocal Academy in Périgueux, France, and since 2014 has been a member of the voice faculty of the Crescendo Summer Institute in Tokaj, Hungary, where she has been invited to return in 2019.

Guests she has invited to Roberts to perform and present master classes with Roberts students include Metropolitan Opera artists Ben Heppner, Michael Sylvester, and Jonathan Beyer; and Vienna State Opera coach/conductor David Aronson and soprano Sylvia Greenberg.  Under her direction, Roberts Opera Theatre has presented fully-staged productions of operas with orchestra including The Marriage of Figaro and The Magic Flute by Mozart; Humperdinck’s Hansel and Gretel; Purcell’s Dido and AeneasThe Mikado, and Pirates of Penzance by Gilbert & Sullivan; Menotti’s Amahl and the Night Visitors and Old Maid and the Thief; as well as fully-staged scenes from opera and musical theatre including Don Giovanni, La Bohème, Carmen, Eugene Onegin, Susannah, Der Rosenkavalier, The Ballad of Baby Doe, Giulio Cesare, West Side Story, Wonderful Town, Bye Bye Birdie, and Fiddler on the Roof

Her students have been offered full or partial scholarships for graduate vocal performance programs at Juilliard, Rice University, Indiana University, Cincinnati College-Conservatory, University of Michigan-Ann Arbor, University of Maryland, Bard College, Guildhall-London, Peabody Conservatory-Johns Hopkins, Manhattan School of Music, New England Conservatory, Cleveland Institute of Music, University of Wisconsin-Madison, Ithaca College, and Westminster Choir College; and have performed with opera companies including St. Louis, Chautauqua, Glimmerglass, Sarasota, and Kansas City in the US; Wiesbaden and Dortmund, Germany; Bratislava, Slovakia; and with the summer festivals of Caramoor, Amalfi Coast, and Les Chorégies d’Orange, France. They have won First Place awards at the 2016 Classical Singer Competition in Boston, the 2016 Rochester Lyric Opera Recital Competition, 2017, 2014 and 2013 National Association of Teachers of Singing Regional Competitions, 2013 American Opera Society Vocal Competition in Chicago, and 2013 Freehold Recital Competition in New York; as well as top awards at the 2015 Charleston Symphony Artist-of-the-Year Competition, the 2015 Hal Leonard Vocal Competition, the 2014 Civic Morning Musical Competition in Syracuse, and the 2013 Harlem Opera Competition in New York.

Constance Fee is Director of Vocal Studies and Associate Professor of Vocal Performance on the music faculty of Roberts Wesleyan College in Rochester, NY. She received the Performer's Certificate in Opera Performance from the Curtis Institute of Music in Philadelphia; Master of Music in Vocal Performance from the Indiana University-Jacobs School of Music in Bloomington; and Bachelor of Vocal Music Education from Westminster Choir College in Princeton, NJ, from which she also received the Alumni Merit Award for Distinguished Achievement in Vocal Performance. A life-long student of Metropolitan Opera soprano Margaret Harshaw, she was a charter member of the Houston Grand Opera Studio.

Recent Roberts Graduate and Student Accomplishments 

  • Young Artist contract - Teatro Nuovo/Bel Canto at Caramoor, SUNY Purchase, summer 2018
  • Four finalists - 2017 National Association of Teachers of Singing District Competition
  • First Place division winner - 2017 NATS District Competition
  • RWC Concerto/Aria winner - 2017-2018
  • Scholarship and Assistantship - master’s degree, Ithaca College 2017-2019
  • Full scholarship and Assistantship - master’s degree, Cincinnati College-Conservatory, 2016-2018
  • Title role - Puccini’s Gianni Schicchi, Cincinnati College-Conservatory Opera Theatre, spring 2018
  • Young Artist contract - Opera Theatre of St. Louis, summer 2018
  • Young Artist contract - Washington National Opera, 2018-2019 season
  • Scholarship and Assistantship - master’s degree, Westminster Choir College, 2016-2018
  • Role of Rosalinde - Strauss’s Die Fledermaus, Westminster Choir College Opera Theatre, spring 2018
  • Soprano Soloist - Handel’s Judas Maccabeus, Rochester Oratorio Society, December 2017
  • Title role - Puccini’s Suor Angelica, Westminster Choir College Opera Theatre, fall 2016
  • First Place winner - Rochester Lyric Opera Recital Competition, 2016
  • First Place winner - Classical Singer Vocal Competition, Boston Convention, 2016
  • RWC Concerto/Aria winner, 2016-2017
  • RWC Concerto/Aria winner, 2015-2016
  • Scholarship and Assistantship - master’s degree, Peabody Institute, 2015-2017
  • Role of Fiordiligi - Mozart’s Cosí fan tutte, Peabody Opera Theatre, fall 2015
  • Studio Artist contract - Sarasota Opera, 2015 season

Professional Memberships

  • National Association of Teachers of Singing
  • Alliance Française
  • Opera America