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​Sought after as a collaborative performer, pianist Sophia Munoz concertizes regularly with Emily D’Angelo and Hera Hyesang Park. A graduate of the Lindemann Young Artist Program at the Metropolitan Opera (2016), Sophia was a member of the music staff at the Komische Oper Berlin from 2017-2022, assisting in the musical preparation of operas such as Enescu’s Oedipe (2021), Shostakovich’s Die Nase (2018, 2021), and Henze’s The Bassarids under Vladimir Jurowski (2019). Past seasons include Assistant Conductor at the Metropolitan Opera for L’Italiana in Algieri (2016) under James Levine, music staff at the Dallas Opera for La Traviata (2017) under Carlo Montanaro, Der Ring of Polykrates by Korngold (2018) and Norma, both under Emmanuel Villaume (2017), and the International Women's Conducting Institute (2016, 2017). She accompanied the 2021 Deutsche Grammophon’s Yellowlounge celebrating International Women’s Day with Nadine Sierra, Hera Hyesang Park, and Bomsori Kim, and was featured on Hope@Home broadcast on ARTE (2020). She is a frequent guest artist at the LacMus Festival in Tremezzina, Lago di Como. In addition, Sophia has performed recitals with artists including Jakub Józef Orliński, René Barbera, Jonathan Tetelman, Rihab Chaieb, Ewa Płonka, and Szymon Komasa. She was staff pianist at the Internationale Meistersinger Akademie (2017, 2016, 2015, 2013), and staff pianist at Eppaner Liedsommer (2016). Sophia received her MM (2014) and BM (2012) from Mannes College the New School for Music where she studied with Cristina Stanescu, Vlad Iftinca, and Pavlina Dokovska, who continued the training she received from her formative teacher, Jura Margulis. She speaks English, German, French, Italian, and is studying Polish.


"Pianist Sophia Muñoz is an outstanding partner throughout the recital, and she brings particular expressivity to two songs from Arnold Schoenberg’s Op. 2, written in lavish pre-twelve tone style. Zemlinsky’s Straussian “Turmwächterlied” serves as centerpiece to the program, showcasing Muñoz’s gorgeous pianistic colors and D’Angelo’s luscious chest voice, dramatic pacing and technical command. Waves of religious ardor pour over the listener at the third verse, “Herr, nun kommen sie alle” (Lord, now they all come), and both artists ride the massive phrases with superb command."

Judith Malafronte for Opera News

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