Mezzo-Soprano Mary Phillips has sung roles in Wagner's Der Ring Des Nibelungen with The Metropolitan Opera, Canadian Opera; Scottish Opera, Seattle Opera, Hawaii Opera and Dallas Opera. She made an acclaimed role debut as Brangäne in Tristan und Isolde for Dallas. As a Verdi mezzo, Mary has performed Verdi’s Requiem, Eboli in Don Carlos, Amneris in Aida, Azucena in Il Trovatore and Preziosilla in La Forza del Destino (Met Opera debut).  

On the concert stage, she is much in demand for Mahler, having sung Mahler’s Symphony No. 8 with the New York Philharmonic and Symphony No. 2 with the Los Angeles Philharmonic and the Atlanta Symphony (recorded for Telarc).  She has performed Beethoven's Symphony No. 9 with Baltimore, Boston, Elgin, Philadelphia, Seattle, Utah, the National Symphony, and the Hong Kong Philharmonic, and has recorded it with Philharmonia Baroque Orchestra. Previous solo appearances at Carnegie Hall include Saint-Saens’ Requiem, Verdi’s Requiem, Handel’s Messiah and Mendelssohn’s Elijah. 

Ms. Phillips began her career in musical theater and performed in the first revival of Sweeney Todd on Broadway.  She is committed to the American music of our time, particularly the works of Jake Heggie, Phillip Glass, and Michael Torke. 

Mary joined the distinguished voice faculty at Sarah Lawrence College in 2019. 

BELLINI | Norma | “Adalgisa” | Fort Worth Opera

“…A pleasant unexpected bonus came with the smooth but powerful rendition of the role of Adalgisa by mezzo-soprano Mary Phillips.” — Star-Telegram

BERNSTEIN | Jeremiah | National Symphony Orchestra | Leonard Slatkin, conductor

“The radiant mezzo-soprano Mary Philips sang with a pleading ardor, fervently limning the texts with power and detail.” —  The Washington Post

BIZET | Carmen | “Carmen” | Arizona Opera

“Mary Phillips’ Carmen was sung with strength and infused with subtle feeling for the character’s mounting desperation… her final scene was sung with an extraordinary sense of musical drama.” — The Republic

DE FALLA | El amor brujo | St. Paul Chamber Orchestra

 “Mezzo Mary Philips made the songs vivid, giving them the right Gypsy harshness...” —  Star Tribune

GLASS | Symphony No. 5 | Indianapolis Symphony

“From the strong complement of five soloists came…the sensuous delivery of an invitation to an orchard in springtime, among many melodious contributions from Mary Phillips.” —  The Indianapolis Star

HEGGIE | Dead Man Walking | “Sister Helen Prejean” | Austin Lyric Opera

“Mary Phillips…gave stunning performances characterized by expressive, rich-toned singing and nuanced acting.”

—  Austin American Statesman

MAHLER | Symphony No. 2 “Resurrection” | Atlanta Symphony Orchestra

“Mezzo-soprano Mary Phillips’ voice was pure gold.”  - The Journal-Constitution

             | Symphony No. 2 “Resurrection” | Springfield Symphony Orchestra

“Soloists Mary Phillips and Jane Jennings turned in terrific performances, both echoing historic recording of the piece and bringing their own unique and personal fire to bear on the passionate expressions of the text. Phillips in particular exhibited the sumptuous vocal color and hall-filling resonance of the Wagnerian mezzo, tempered by a capacity for blooming sweetness of soft tone in her middle voice that invested the last two lines of the “Urlight” with chilling beauty.” — Springfield News

             | Symphony No. 2 “Resurrection” | Honolulu Symphony

“Mezzo-soprano Mary Phillips…absolutely perfect…Phillip’s simple passage (‘Oh rosebud red’) that opens the fourth movement was sung with angel-like simplicity and authority. —  Honolulu Advertiser

             | Symphony No. 2 “Resurrection” | Syracuse Symphony

“She sang with the utmost sensitivity to the meaning of the text, expressing the soul's intense desire for life in heaven.” —  Syracuse.com 

             | Symphony No. 2 “Resurrection” | Portland Symphony Orchestra

“…soprano Lisa Saffer and mezzo-soprano Mary Phillips, fully deserved the flowers, stamping and cheers that greeted the final gigantic chords….Phillips appeared first, in the short fourth movement ‘Urlicht,’….What was particularly striking about her reading was the way it progressed from doubt to triumph, based almost entirely upon vocal color. Both Phillips and Saffer were superb in the ‘The Great Call,’ of the finale, solo or soaring above the massed chorus and orchestra, and their voices were perfectly suited to a melodic duet.” —  Portland Press Herald

             | Symphony No. 8 “Symphony of a Thousand” | New York Philharmonic

“A Mahler 8 that can boast the gleaming voice of soprano Christine Brewer and eloquent phrasing of tenor Anthony Dean Griffey is doing very well indeed. Highly satisfying, too, were sopranos Nancy Gustafson and Jeanine De Bique and mezzo Mary Phillips.” —  Baltimore Sun

             | Symphony No. 8 “Symphony of a Thousand”  | Springfield Symphony

“Among the five women soloists, alto Mary Phillips…offered especially full and beautiful tone.

— Springfield New-Leader

MASCAGNI | Cavalleria Rusticana | “Santuzza” | Orlando Opera

“Mary Phillips's Santuzza did not take Turiddu's rejection lying down. Her voice, powerful in thrust, has a smoky, dark quality that was thrilling to hear. … when the action heated up, she delivered the goods.” — Opera News

MOZART | Così fan tutte | “Dorabella” | Arizona Opera Company

“Mezzo-soprano Mary Phillips as Dorabella giggled and pranced and fretted convincingly as their voices made Mozart’s music sound like a prayer – that is, fervent and heartfelt.” — Arizona Daily Star

“Mezzo-soprano Mary Phillips was a sparkling Dorabella, the sister with less earnest outlooks on love. Each phrase conveyed the silky essence of her role.” — The Arizona Republic

PROKOFIEV | Alexander Nevsky | Milwaukee Symphony Orchestra

         “Phillips brought a gravitas and musical depth to the mezzo solo lines, singing with a full, focused sound.”

         — Journal Sentinel

         “Phillips sang as if bearing the weight of Mother Russia on her shoulders.” — Third Coast Direct

R. STRAUSS | Ariadne auf Naxos | “Composer” | Sarasota Opera

“…and a Composer sung by Mary Phillips, in what was for me, the high point of the festival.  A wonderfully subtle performance of great tenderness and, when needed, arresting power which makes one long to hear her in other Strauss roles and, eventually, as Dorabella.” — Opera Now

“…Mezzo-soprano Mary Phillips took the singing honors with her eloquent performance of The Composer.  She sang gloriously, acted powerfully and so sparked the Prologue with her presence…” — L’Opera

VERDI | Aida | “Amneris” | Utah Opera

“No less impressive is mezzo-soprano Mary Phillips in her debut as the pharaoh’s daughter Amneris. She is a vocal powerhouse as well as a compelling actor. In love with Radames, she projected pride, anger, rage and jealousy as she eventually realizes that Aida is her rival and that Radames doesn’t reciprocate her love.” — Deseret Morning News

“Mezzo Mary Philips was a striking Amneris. Her voice was forceful and focused as she gave a vivid portrayal of a young woman who is accustomed to getting her own way but is horrified at the unintended consequences of her actions. The quiet power of her final lines brought the opera to a gripping conclusion.” — The Salt Lake Tribune     

         | Aida | “Amneris” | Opera Birmingham

“As the troubled Egyptian princess, Amneris, Phillips provided some of the strongest singing all evening. It’s a difficult role, requiring agility, a wide vocal range and emotional strength, and Phillips poured her heart and voice into it.”  — The Birmingham News

        | Aida | “Amneris” | Hawaii Opera Theatre

“For rivals in love, Akina cast sisters, soprano Lori Phillips as Aida and mezzo-soprano Mary Phillips as Amneris. They made a compelling pair, and their voices matched in strength, expression, and even somewhat in timbre....All five primary leads gave stellar performances not to be missed.” — Honolulu Pulse

         | Aida | “Amneris” | Bob Jones University

“Mary Phillips, as the scheming Amneris, also impressed with both body and voice. She brought a touch of realism to what is obviously a heightened situation, giving her character a depth of range and emotion that included moments of humor as well as some distinct physical moves — watch her expressive hands, even in moments when she is otherwise perfectly still.” — GreenvilleOnline

         | Don Carlo | “Princess Eboli” | Vancouver Opera

“Mezzo Mary Phillips, as Princess Eboli, deserves an opera best supporting actress Oscar: vocally confident and theatrically practised, she is a singer/actress of power and stature.” — Vancouver Sun

         | Don Carlo | “Princess Eboli” | Sarasota Opera

“The lovely Princess Eboli (Mary Phillips) injects a bit of levity as she entertains with a florid “veil” aria in which her mezzo voice exults in trills, roulades and Moorish flavors. Phillips has several opportunities to shine both dramatically and vocally. Most notable is her scene-stealing aria “O don fatal” where she erupts into a frenzy of pent-up emotion, a magnificent diva moment.” — Herald Tribune

“Along with Nistico’s Rodrigue, Mary Phillips’ Eboli provided the most satisfying portrayal. Dramatically viable and showing an ample dramatic mezzo, her “O don fatal” was a highlight of the performance.”

— South Florida Classical Review

         | Don Carlo | “Princess Eboli” | Austin Lyric Opera | Richard Buckley, cond.

“Mary Phillips used her voice to its fullest dramatic potential; she was not afraid to invoke some grit to project visceral heartbreak.” — The Houston Chronicle

         “Mary Phillips is incredibly versatile as princess Eboli. Her mezzo-soprano voice is stunning, and her acting is just as  exquisite.” - Broadway World

         | Il Trovatore | “Azucena” | Arizona Opera | Joel Revzen, cond.

… an amazing grasp of the role of Azucena…Phillips made her real and totally believable, both when she showed her love for her presumed son and when she spat like a caged animal during her capture. Phillips colored her opulent mezzo-soprano voice with the myriad textures of this dramatic part. — Opera Today

         | Il Trovatore | “Azucena” | Austin Lyric Opera | Richard Buckley, cond.

“Isolated characters like his and Mary Phillips' Azucena were more effective because they sang their pain alone, directly to the audience and connecting with us. Azucena popped her eyes…and sang in powerful contralto of her gypsy mother burned at the stake, demanding the vengeance that fuels the entire story.” — The Austin Chronicle

         | Il Trovatore | “Azucena” | Bob Jones University

“Let’s be upfront about [this production’s] strongest asset: the fiery performance by mezzo-soprano Mary Phillips....With her powerful and radiant voice Phillips makes this a riveting production whenever she takes the stage....” — The Greenville News

         | Requiem | Hartford Chorale

“Phillips sang with a great feel for the character of the piece, and with a true mezzo quality, which will surely deepen with the years.” — Courant

WAGNER | Rhinegold | “Fricka” | Pittsburgh Festival Opera | Walter Morales, cond.

“Opulent-voiced mezzo Mary Phillips was dominant and domineering as Wotan’s beleaguered wife Fricka”

— Robert Croan, Pittsburgh Post-Gazette

             | Der Ring des Nibelungen | “Erda” | Scottish Opera

         “…Mary Phillips’ impassioned duet with the ever more wretched Wotan…” — The Scotsman

         “…the highest praise is also due…Mary Phillips’ eloquent Erda…”— The Observer Review

             | Die Walküre & Götterdämmerung | “Fricka” and  “Waltraute” | Canadian Opera

“Mary Phillips’s assertive mezzo served equally well in haranguing Wotan as Fricka and in entreating Brünnhilde as Waltraute.” —  Financial Times

“The dusky-toned mezzo-soprano Mary Phillips admirably stepped in as a last-minute replacement as Fricka in “Walküre”, then sang Waltraute impressively in Götterdämmerung.” — New York Times

“The splendid Mary Phillips, already cast as a Walkure, doubled by also taking on Fricka’s single scen… [she was] impressive later in the crucial narration of Waltraute.”— Pittsburgh Post-Gazette

“Mezzo-soprano Mary Phillips, filling in at the last moment for an indisposed Judit Nemeth, made a strong impression as Fricka.” — Musical America

“Mezzo-soprano Mary Phillips, standing in for Nemeth, gave a radiant performance as Fricka, projecting both the pain of the neglected wife and the fury of the goddess whose rites have been flouted. She also appeared later as one of a stirring ensemble of valkyries.” — Globe and Mail

             | Tristan und Isolde | "Brangaene" | Dallas Opera

“Brangaene brought forth much refulgent, handsome tone from Met mezzo Mary Phillips, enchanting to see…utterly convincing in every gesture and expression.” — Gay City News

"The performances given by the singers were stunning.... The entire cast is flawless....Mary Phillips as Brangane, Isolde’s Maiden, brings psychological insight to her role that is startling." — Pegasus News

“Mezzo-Soprano Mary Phillips made her role debut as Brangane and if one had not read that in the Playbill, you would never have know. She sang and acted the role as if she had been performing it for years. I’m sure this will not be the last time we hear Ms. Phillips in this role.” — Operagasm

“…a singer of great vocal and emotional intensity.” — Opera (UK)

 “…mezzo-soprano Mary Phillips turned in an often entrancing performance as Brangane.” — Front Row                                                  

“The remainder of the cast was impressive. This certainly includes Mary Phillips' Brangäne…” — Star-Telegram

             | Tristan und Isolde | "Brangaene" | Winnipeg Symphony | Alexander Mickelthwate, cond. (staged version)

"...for me the start of the show was Mary Phillips, a Met regular, who sang Brangane with rich and ringing tones, casting her warning from high in the Centennial Concert Hall's second balcony." — Craig Knobles, Wagner Notes

Recital | Russian Chamber Art Society

Lori Phillips and mezzo-soprano Mary Phillips, twin sisters…displayed a dramatic soprano’s range and a burnished tonal brilliance, while amiably anticipating each other’s cues and facilitating their entrances…their voices’ timbre like that of two impeccably tuned instruments being seamlessly bowed, played or blown; the mood, one of impassioned sorrow.  — Leslie Weisman, DC Metro Theater Arts