Kiri Deonarine has attracted attention in the opera world with a voice that is clear, liquid, and plush in tone, which she combines with elegant legato phrasing, formidable coloratura technique, and a sparkling, ebullient personality with an irresistible charm. Describing her recent success in Werther, Opera News wrote, “Kiri Deonarine was altogether enchanting as Sophie, her high soprano giving off scintillating glimmers of coloratura sunshine amid the surrounding gloom." Chicago Tribune said Sophie was her “breakout role at Lyric, and the Ryan Center sophomore not only sang it with abundant sweetness but acted it with a bubbly charm." The Chicago Sun-Times described her voice as having “a French sound and quality, with a mystical, narrow vibrato, down so perfectly that you might have thought you were listening to a rare and valuable recording of the 1920s." She appeared with Santa Fe Opera as Fiakermilli in Arabella that was described by critics as “gloriously executed" and sung with “high-flying brilliance." In a review of her performance at the Lyric Opera of Chicago’s Night of Rising Stars concert, Wynne Delacoma wrote that "Deonarine was simply dazzling in the ferociously complex virtuosity of the Bell Song from Delibes' Lakmé, bringing a lyrical seamlessness to both the aria's ornaments and its slow, exotic melody line."

She made her Metropolitan Opera debut as the Polovtsian Maiden in Prince Igor, debuted at Michigan Opera Theatre as Catherine in A View from the Bridge, and sang 1st Flower-Maiden in Parsifal at the Lyric Opera of Chicago. She returned to the Metropolitan Opera singing performances of Frasquita in Carmen and covering Valencienne in The Merry Widow.

Deonarine was a member of the Ryan Opera Center of the Lyric Opera of Chicago where she sang Gilda in Rigoletto, Sophie in Werther, Echo in Ariadne auf Naxos (debut), Pamina in The Magic Flute (student matinees), 1st Siren in Rinaldo, and the Dew Fairy in Hansel and Gretel. For the previous two seasons, she was a member of the Houston Grand Opera Studio where she sang Adina in performances of Donizetti’s L’elisir d’Amore, First Niece in Peter Grimes, Sister Catherine in Dead Man Walking, Despina in Così fan Tutte, Barbarina in Le Nozze di Figaro, and Najade in Ariadne auf Naxos.

Her vocal and musical talents have earned her a number of important prizes including Top prize in the Gerda Lissner Foundation Competition 2015, Sullivan Foundation Award winner 2014, Second place in the Loren L. Zachary Competition 2014, First place in the Giulio Gari Competition 2013, Richard F. Gold Career Grant 2013, Top Prize in the Licia Albanese- Puccini Foundation Competition 2012, First Prize in the 2010 Dallas Opera Guild Competition, Grand Finalist in the 2009 Metropolitan Opera National Council Auditions, award-winner in the George London Vocal Competition, the Rose Ann Grundman scholarship in the American Opera Society Scholarship Competition, the The Jerome and Elaine Nerenberg Foundation Scholarship, and the Lynne Cooper Harvey Scholarship in the Musicians Club of Women Competition.

Notable appearances on the concert stage include the Fauré Requiem with the Milwaukee Symphony under the baton of Edo de Waart and Teutile in Vivaldi’s Montezuma with Mercury Baroque.

Ms. Deonarine has earned a bachelor’s degree in music education at Baylor University, studied at Dresden’s Institute of Advanced Studies, and pursued a master’s degree in vocal performance at Indiana University. She is a former participant in the Apprentice Singer program of The Santa Fe Opera (2009, 2010). She sang Madame Cortese in Rossini’s Il Viaggio a Reims with Wolf Trap Opera (2013).

Deonarine was heard nationwide as a featured performer on public radio’s “A Prairie Home Companion," broadcast live from the Ravinia Festival.

She made her European debut singing the soprano solo in Carmina Burana with the Czech National Symphony.