Laura Snyderman prides herself in performing a variety of styles, from Aperghis to J.S. Bach. Laura recently sang the Snow Maiden’s Prologue from Rimsky-Korsakov’s Snow Maiden with the New Asia Orchestra, and Gilda in an excerpt of Rigoletto with the Ashdod Symphony Orchestra in Jerusalem. She performed Suor Genovieffa in Suor Angelica and La Chauve Souris/La Chouette in L'enfant et les sortilèges under the direction of Richard Barrett, as well as The Mother in Amahl and the Night Visitors with orchestra. She debuted Julia in the world premiere of Moshe Zorman’s opera, Albert, and Chloe in an “outstanding performance,” of Thomas Whitman’s revised chamber opera, Sukey in the Dark. Other credits include Suor Dolcina in Suor Angelica with Bel Cantati Opera; Barbarina in Le nozze di Figaro under the baton of Keith Chambers and Papagena in Die Zauberflöte under the direction of Benoit Renard with Manhattan Opera Studio.
In concert, Laura sang Lieschen in three settings of The Coffee Cantata, including a previously unperformed J.S. Buchberger cantata with baroque chamber orchestra. As a recitalist, she was a featured artist with the UN for the Education of Global Citizenship International Ceremony, the Smithsonian Institute Fabergé Egg Russian Romance Recital, the Union Square Chamber Arts Society, and Blank Space Baltimore. Recently, Laura’s performance of Alban Berg’s “Die Nachtigall,” was presented twice on Maryland PBS.
Alongside her performance pursuits, Laura currently serves as a committee member of The Alkan Society (UK), a musicology society promoting the works of Charles-Valentin Alkan. She published two essays, “Charles Valentin Alkan: An Obscure Leading Composer of the 19th Century,” and “Connecting Berlioz and Alkan: a Germanic Language in 19th-century France.”