Critically acclaimed soprano Amelia D’Arcy has sung with orchestra, chamber ensemble, in recital and concert, and on the opera stage. She was a soloist with the Baltimore Symphony Orchestra at age 15 and attended The Juilliard School and Columbia University, from which she earned a Bachelor of Arts degree magna cum laude, Phi Beta Kappa. At Columbia, she was the founder of the Columbia Opera Ensemble. In New York she continued her voice studies with Lynn Owen and basso Raymond Buckingham, where her primary coach was Linda Hall of the Metropolitan Opera.
She has garnered awards from the Tanglewood Institute, the National Foundation for Advancement in the Arts, the Rosa Ponselle Foundation and the Pittsburgh Concert Society. She sang the title role in Verdi's Luisa Miller, Amelia in Simon Boccanegra and Lida in Verdi’s early La Battaglia di Legnano for Maestro Vincent La Selva's complete chronological Verdi series at New York's Central Park SummerStage. Her intelligent style and musicianship has led to high critical praise. Opera News lauded her “compelling vocal quality” and The New York Times said “…a splendid performance…her voice invariably sounded lithe and alluring…she gave a shape to her phrases, an arc to her lines…” Other roles include Tosca, Butterfly, Liù (Turandot), Mimi (La Bohème), Violetta (La Traviata), Leonora (Il Trovatore), Lady Macbeth, and Alice Ford in Verdi’s Falstaff.
Recent performances of note have included multiple collaborations with Cleveland’s Rocky River Chamber Music Society, a collaboration with members of the Cleveland Orchestra at the Kent/Blossom Music Festival, and a recital and masterclass in Oklahoma at Cameron University with pianist Hyunsoon Whang. D’Arcy also recorded Schubert’s Der Hirt auf dem Felsen (The Shepherd on the Rock) with Cleveland Orchestra clarinetist Daniel McKelway. D’Arcy was heard as Anne Frank in James Whitbourn’s Annelies at Rodef Shalom with the Mendelssohn Choir of Pittsburgh and in Pergolesi’s Stabat Mater with Resonance Works Pittsburgh and Metropolitan Opera countertenor Andrey Nemzer. She has been a member of the professional core of the Mendelssohn Choir of Pittsburgh for fifteen years, and has been featured as a soloist in Brahms’ Ein deutsches Requiem, Rossini’s Petite Messe Solennelle, Mozart’s Mass in C Minor and Schubert’s Mirjam’s Siegesgesang. Other engagements include Rossini’s Stabat Mater and Mozart’s Requiem with the Akron Symphony Orchestra and Handel’s Messiah with the Johnstown Symphony. She appeared in the Pittsburgh Symphony Orchestra's staged production of Bach's St. John Passion, and made her PSO debut with Maestro Manfred Honeck in Mahler’s Symphony No.2.