Lori Ann Fuller
This is the official website for Lori Ann Fuller, soprano. I’m so glad you are visiting! Be sure and check out all my pages, including photos and videos – and send me a message too. I’d love to hear from you!
I’ve been singing all my life, starting with my debut as a 3-year-old, singing in front of the church! I’ve grown up performing, playing piano, dancing, acting – you name it. I love being on stage, sharing my gift with others.
** I am happy to announce I am now a Grammy Award Winner!
Best Opera Recording – Ghosts of Versailles with LA Opera!! **
A native of Bossier City, Louisiana, soprano Lori Ann Fuller has been performing with numerous opera
companies, symphony orchestras, and theater companies since 1998. Her first professional role was Mabel in
Pirates of Penzance, performed in Park Ridge, Illinois. After that, Ms. Fuller debuted in London with
the BBC Symphony Orchestra, performing the leading soprano role, Angela, in Kurt Weill’s Firebrand
of Florence. This performance, conducted by Sir Andrew Davis, also starred Rodney Gilfry,
Felicity Palmer, Lucy Schaufer, and George Dvorsky. It was released on CD by Capriccio Records in 2003.
Ms. Fuller made her Lyric Opera of Chicago debut as Rose Maurrant in Kurt Weill’s Street Scene in October
2001, alongside Catherine Malfitano, Dean Peterson, Gregory Turay, and Timothy Nolan, with David Pountney
directing, and Richard Buckley conducting. She also performed a concert version of Street Scene at Royal
Albert Hall for the BBC Proms, singing the same role, conducted by Barry Wordsworth with the BBC Concert
Since these prestigious debuts in London and Chicago, Ms. Fuller has performed several roles all around the
US, including Madame Goldentrill and Mrs. Gobineau in a double bill of Mozart’s Impresario and Menotti’s The
Medium with Portland Opera Repertory Theater (ME), Lauretta in Gianni Schicchi with Pine Mountain Music Festival (MI),
Zorika in Lehar’s Gypsy Love with Light Opera Works (IL), Gilda in Rigoletto with l’opera piccola (IL),
and Violetta in La traviata with Pacific Repertory Opera, now called Opera San Luis Obispo (CA) and also Antelope Valley Opera (CA). With Alternative Opera Theater (CA), she performed the leading roles in a double bill of Menotti’s The Telephone and Hugo Weisgall’s The Stronger.
Other career highlights include Adina in Donizetti’s L’elisir d’Amore performed in Sant’Angelo in Vado,
Italy, Marian Paroo in Willson’s Music Man (CA), and Josephine in HMS Pinafore (CA). In 2010, Ms. Fuller
performed the role of Suckley in the world premiere opera The First Lady, composed by Kenneth Wells,
conducted by Stephen Karr.
Since making Southern California home base, Ms. Fuller has had opportunities performing with Los Angeles
Opera in numerous capacities. Her LA Opera mainstage productions include Maiden in Kurt Weill’s Rise and Fall
of the City of Mahagonny, starring Patti LuPone, Audra MacDonald, and Anthony Dean Griffey, Jano in
Janacek’s Jenufa, starring Karita Mattila, Lover in Il Tabarro, starring Mark Delevan, and Cercatrice
in Suor Angelica, starring Sondra Radvanovsky, and various roles in the Grammy Award Winning Opera, Ghosts of Versailles (2015). All of these productions were conducted by James Conlon.
Also for LA Opera, Ms. Fuller has performed concerts and recitals for LA Opera for Educators, LA Opera
Leagues, LA Opera Ring Festival, Hispanics for LA Opera, and many donor benefits. In 2012, she had the honor of
singing the title role for the musical reading of Dulce Rosa, by Lee Holdridge and Richard Sparks, premiered
at the Encore Stage for LA Opera, conducted by Placido Domingo.
Equally at home on the concert stage, Ms. Fuller has performed as featured soloist
with various orchestras and other musical ensembles. Some of her most memorable concert performances have been
with the Los Angeles Philharmonic, performing the Bachianas Brasilieras No. 5 by
Heitor Villa-Lobos, conducted by Joana Carneiro, premiering original orchestral pieces
by Gustav Hoyer, with Orchestra Unleashed, and with the San Diego Orchestra singing excerpts
from The Final Fantasy video game.
Additionally, on the concert stage, Ms. Fuller has performed as soprano soloist in Handel’s Messiah,
Stravinsky’s Les Noces, Haydn’s The Creation, Faure’s Requiem, Vivaldi’s Gloria, Bach’s Cantatas No. 6 and
51, Mozart’s Concert Arias K. 369 and K. 583.
She has performed as featured soprano soloist with the Longview Opera (TX), and in California, the Mozart Festival in San Luis Obispo, Verdi Chorus, Hollywood Master Chorale, Bach’s Lunch Recital Series, and Live at the Lounge in Hermosa Beach. In 2012, Ms. Fuller performed with a baroque ensemble for a benefit concert for Family Promise of East San Fernando Valley.
Ms. Fuller studied voice at Centenary College of Louisiana before transferring and graduating with the Bachelor of Music degree in Vocal Performance from Stetson University in DeLand, Florida. After graduation, she moved to Chicago, where she studied and completed her Master of Music degree in Vocal Performance at DePaul University.
Her amazing voice teachers include Catherine Malfitano, Norman Gulbrandsen, Dr. Craig Maddox, and Dr. Gail Odom.
She has had the privilege to work with many professionals in the world of music, including:
Conductors: James Conlon, Sir Andrew Davis, Richard Buckley, Joana Carneiro, Barry Wordsworth, Thomas Brooks, Bruce Hangan, Eric Townsend, Julian Dawson, Robert Kaminskas, Harold Bauer, Gustav Hoyer, David Newby, Stephen Karr
Directors: Darko Tresnjak, William Friedkin, David Pountney, Oliver Tambosi, Harry Silverstein, Paul Curran, Buck Ross, Nicolette Molnar, Sue Ellen Kuzma, Dona D. Vaughan, Sharon Daniels, James Marvel, Courtney Selan, David Cox, Hegji Arpad Jutocsa
Coaches: Armen Guzelimian, Daniel Faltus, Victoria Kirsch, William Hicks, Dr. Kit Bridges, Jane Steele, Alan Stone, Pam Bullock, Andrew Massey, Ubaldi Fabbri, Lucia Tosi, Roger Bingaman, Dr. Page Williams, Tom Gerhold.
Click on titles below to purchase CD’s of Ms. Fuller’s recordings
(Lori Ann Fuller) captured the tender mutual dependency of their relationship, while the melodrama of Gilda’s murder came off effectively. All five principal singers sounded well-coached in their Italian diction. …Fuller’s radiantly sung Gilda came off the best. The young DePaul alumna, who brightened Weill’s “Street Scene” last season at Lyric, had the right Gilda voice fresh, virginally pure, possessed of melting beauty in her soft singing agile enough to mail the coloratura of “Caro nome” beautifully.”
John von Rhein, Chicago Tribune, Aug. 13, 2002 – Rigoletto, l’opera piccola
“Thrilling singing makes these three hours fly by, thanks to Lori Ann Fuller as the anguished fiancee.”
Lawrence Bommer, Chicago Reader, June 14, 2002 – Gypsy Love, Light Opera Works
“Fuller’s richly sung Zorika pairs well with Edward’s Joszi…Genuine triple threats are hard to come by in this line of work. Fuller appears to be one.”
Michael Phillips, Chicago Tribune, June 11, 2002 – Gypsy Love, Light Opera Works
“Lori Ann Fuller’s memorable Lyric debut as Rose displayed a lovely vocal sound and natural acting talent.”
William Shackelford, Opera, March 2002 – Street Scene, Lyric Opera of Chicago
“Lori Ann Fuller, making her Lyric debut as Rose…warmed up as the story progressed, bringing an earnest freshness to her love duets and affecting final scene.”
Lawrence A. Johnson, Opera News, Jan. 2002 – Street Scene, Lyric Opera of Chicago
“Fuller’s bright and pure singing provided a suitable beacon for the optimism and strength of the character that eventually allows Rose to flee her brownstone prison.”
Wynne Delacoma, Chicago Sun-Times, Oct. 4, 2001 – Street Scene, Lyric Opera of Chicago
“Some [principals] broke free, to give communicative performances, notably…Lori Ann Fuller as Angela. [She] knew how to put numbers across.”
Andrew Porter, Opera, April 2000 – The Firebrand of Florence, BBC Symphony Orchestra
“As Adina, the soprano [Lori Ann Fuller] had a secure top and equally impressive pianissimo.”
Il Nuovo Amico, July 11, 1999 – L’elisir d’Amore, Italy
“The Impresario, as directed by Sue Ellen Kuzma, with all kinds of charming stage business, is really funny in a Marx Brothers sort of way…The sopranos in addition to singing like angels, achieve some unbelievable screeches.”
Christopher Hyde, Maine Sunday Telegram, July 30, 2000 – Impresario, P.O.R.T.
“Lori Ann Fuller was a sweet sounding shepherd boy.”
Maria Nockin, theoperacritic.com, Oct 2007 – Jenufa, Los Angeles Opera