Praise for Hindrichs as Marie in Bernd Alois Zimmermann's
"Among the difficult singing roles, the american soprano Emily Hindrichs had the most formidable part to master. She did this with astonishing aplomb, and struck exactly the right tone between well-behaved young girl and love- and life-hungry woman."
Soprano Emily Hindrichs, born in New Orleans, made her European concert debut in 2008 as the Angel in Händel's Jephtha with the Internationale Bachakademie Stuttgart under Helmuth Rilling. One year later, she debuted as Queen of the Night at the English National Opera. Engagements followed with the Seattle Opera, the Seattle Symphony, the American Composers Orchestra at Carnegie Hall, and the Toronto Symphony Orchestra, where she performed again with Helmuth Rilling.
"Emily Hindrichs' Queen of the Night blazed her way like a comet through the role’s high tessitura, putting all those tricky triplets in the second part of ‚Der Hölle Rache‘ perfectly in place." (Opera News)
2012 brought Hindrichs' French operatic debut at Opéra Théâtre Saint-Étienne as Anne Trulove in The Rake's Progress, her first engagement with Oper Frankfurt as Königin der Nacht, and a role debut as Konstanze with the Connecticut Early Music Festival. The following season she appeared in Chicago Opera Theater's production of The Magic Flute, and gave a recital with pianist Joseph Middleton during Britten Weekend in Aldeburgh (England), featuring world premieres of song cycles by Christian Mason and Edmund Nesbit. That weekend also saw performances of Hindrichs' reconstructed edition of Les Mamelles de Tirésias (Poulenc), as arranged by Benjamin Britten.
From 2013-2015, Hindrichs was a soloist at the Badisches Staatstheater Karlsruhe, making role debuts as Oscar (Un Ballo in Maschera), Sophie (Der Rosenkavalier), and Musetta (La Bohème), as well as reprising her Königin der Nacht. In her breakout performance in the 2014 International Händel Festspiele production of Riccardo Primo, she was hailed as "the discovery of the evening" (Opernnetz). The same season, she was celebrated in the title role of Stravinsky's Le Rossignol, returned to Oper Frankfurt for performances of Die Zauberflöte, and made her London concert debut at the Barbican Centre, singing Reinhold Glière's Concerto for Coloratura Soprano.
In 2015 Hindrichs became a soloist in the ensemble of Oper Köln, where she has made notable role debuts as Susanna (Le Nozze di Figaro), Teresa (Benvenuto Cellini), Cunegonde (Candide), and Rose Maurrant (Street Scene). In her first collaboration with Ensemble Musikfabrik, she gave the world premiere performance of Adela in Liza Lim's Tree of Codes, heard at both Oper Köln and the HELLERAU Tonlagen Festival, followed by an appearance with the ensemble at the ACHT BRÜCKEN Festival in Unsuk Chin's Cantatrix Sopranica. Later that year, Hindrichs made her house debut at Komische Oper Berlin in Barrie Kosky's acclaimed production of L'Enfant et les Sortilèges, and at the Aalto-Theater Essen in Die Zauberflöte. 2018 marked an important role debut for the soprano. As Marie in Bernd Alois Zimmermann's Die Soldaten, Hindrichs "left no musical wish unfulfilled, rose to every challenge, never weakened" (Die Deutsche Bühne). She was immediately engaged by the WDR Sinfonieorchester for their performance of the Zimmermann Soldaten Vokalsinfonie, under the direction of Emilio Pomàrico, and later nominated for "Sänger/Sängerin des Jahres" in the Opernwelt Critic's Survey.
"The north American coloratura Emily Hindrichs shows a stunning incarnation of Marie, heroine sacrificed to ordinary barbarism. Her vocal timbre is pointed and her agility demands admiration." (Anaclase)
In the 2018-19 season Hindrichs returned to the Aalto-Theater Essen (Die Zauberflöte) and made her debut as Ishmaela in Olga Neuwirth's The Outcast at the Elbphilharmonie Hamburg. At Oper Köln, she made debuts as Wanda in Offenbach's La Grande-Duchesse de Gérolstein, as Ottilie in Im weißen Rössl, and as Rose Maurrant in Kurt Weill's Street Scene. In the 2019-20 season Hindrichs made her house debut with the Deutsches Nationaltheater und Staatskapelle Weimar in Peter Konwitschny's new production of Lanzelot (Paul Dessau) and sang with the Concertgebouworkest under the musical direction of François-Xavier Roth. In 2021 followed role debuts as Marguerite in Faust at Oper Köln and Royal Danish Opera Copenhagen, and as Clémence in Kaija Saariajo's L'amour de loin at Oper Köln. In the season 2021/22 she makes a role debut as Olympia in Barrie Kosky's Les Contes d'Hoffmann at Komische Oper Berlin, and reprises her Marie in Die Soldaten with Gürzenich Orchester (musical direction: François-Xavier Roth, scenic direction: Calixto Bieto) at the Philharmonie de Paris and the Elbphilharmonie Hamburg.
Hindrichs was a recipient of a Rotary Ambassadorial Scholarship, a Sullivan Foundation Award, the winner of the Les Azuriales Opera Competition in France, and a New England regional finalist in the Metropolitan Opera National Council auditions. She holds degrees from the University of Southern Mississippi, the University of Exeter, and a doctorate from the New England Conservatory. She completed her musical formation as a Max Kade Scholar at the Middlebury College German for Singers program, as a member of the Seattle Opera Young Artists Program, and as Tanglewood Music Center Vocal Fellow.