Versatile mezzo-soprano Teresa Buchholz enjoys success in the realms of opera, art song and oratorio, ranging from the baroque to romantic operas to contemporary works. This Fall she completed a successful run of Handel’s opera “Rodelinda” in the role of Eduige at Hudson Hall (Hudson NY), her second collaboration with director R.B. Schlather, following her performances as Ann in the critically acclaimed production of “The Mother of Us All” at Hudson Hall in 2017. Verdi’s Requiem is quickly becoming a staple of her repertoire, and she has recently performed the work with True Concord Chorus and Orchestra (Tucson, AZ), the Helena Symphony (Helena, MT), the New Jersey Choral Society, and the Lake Como Music Festival (Italy). Other recent performances include Mozart’s Requiem with the Tulsa Symphony and Haydn’s Lord Nelson Mass and Vaughan Williams Serenade to Music with the Greenwich Choral Society. Engagements for the 2022-23 season included Mozart’s Requiem with DCINY and Vivaldi’s Magnificat, with Mid-American Productions, both at Carnegie Hall, in addition to another Vivaldi work, the solo cantata Stabat Mater with The Berkshire Bach Society. She covered roles for two rare Strauss operas: the role of Gaea in “Daphne” at Carnegie Hall with The American Symphony Orchestra, and the role of Carlotta in “Die Schweigsame Frau'' for Bard’s Summerscape Festival. Engagements for the 2021-22 season included Handel’s Messiah with the Boise Philharmonic, Rossini’s Stabat Mater with the Helena Symphony, Bernstein’s Symphony No. 1 (Jeremiah) with the Hudson Valley Philharmonic, Mozart’s Requiem with the Long Beach Symphony (CA), Bach’s St. Matthew Passion with The Portland Symphony (ME) and Maher’s Symphony No. 2 with the Gateway Chamber Orchestra (TN). Some recent performances include Handel’s Messiah at Carnegie Hall with Distinguished Concerts International New York, several Holiday concerts with The Greenwich Choral Society and a guest recital at her alma mater, The University of Northern Iowa. In March 2019 she performed Alexander Nevsky with the Anchorage Symphony, and 2018/19 marked the debut of a newly formed collaboration with Bard colleagues Erika Switzer and Marka Gustavsson, The Blithewood Ensemble, which has performed a program of chamber music as part of the Downtown Music at Grace series (White Plains, NY) at the Hudson Hall (Hudson, NY) and Bitò Hall at Bard College.. She recently soloed with the New Jersey Choral Society on a concert featuring Beethoven’s Symphony no. 9 and Choral Fantasy, and performed the role of Domna Ivanovna Sobyrova in a staged production of “The Tsar’s Bride” by Rimsky-Korsakov as part of the Bard Music Festival. In December 2018 she soloed in Handel’s Messiah at the Bardavon Theatre in Poughkeepsie, and the previous Fall she was heard as Anne in Virgil Thomson’s The Mother of Us All in a highly acclaimed production that took place in Hudson NY, in Beethoven’s Symphony No. 9 with The Orchestra Now at Bard College and in the role of Berta in a New York City concert version of the rarely heard opera Il Grillo del Focolare by Riccardo Zandonai. Other past performances include the role of Zofia in Monuiskzo’s opera Halka at the Bard Music Festival, Bach’s Christmas Oratorio with the Rhode Island Civic Chorale and Orchestra, Beethoven’s Ninth Symphony at Lincoln Center with the National Chorale (NYC), at the Bard Music Festival on a program of verismo opera arias, as well as a staged version of Bach’s St. Matthew Passion with Gulfshore Opera (FL), Vivaldi’s Gloria with The Berkshire Bach Society (MA), and The Stamford Symphony (CT), Bach’s Magnificat with Voices of Ascension, (NYC), and Berlioz’s Les Nuits d’Été with the Bard College Orchestra. Other notable performances have included the role of Mrs. Lovett in Sweeney Todd with Opera Roanoke, Orlofsky in Die Fledermaus with Asheville Lyric Opera, Verdi’s Requiem with the New Jersey Choral Society, Mozart’s Requiem with the Tulsa Symphony, the Stamford Symphony, and Voices of Ascension (NYC), Brahms’s Alto Rhapsody at the Bard Music Festival, and a return to the Gateway Chamber Orchestra (TN) for Berio’s Folk Songs. Performances for the 2013 - 2014 season have included the title role in Giulio Cesare in Egitto with Opera Roanoke, Mendelssohn’s Elijah with the Rhode Island Civic Chorale and Orchestra, Schubert’s Mass No. 6 in E Flat with the The New Jersey Choral Society, the role of Mathurine in Little Opera Theatre of New York's run of Gluck's one-act opera The Reformed Drunkard, the roles of Martha and Pantalis in a concert performance of Boito's Mefistofele with the Collegiate Chorale at Carnegie Hall, Elliot Carter's "Voyage" with the American Symphony Orchestra at Carnegie Hall, Mozart's Requiem with the Helena Symphony (MT), Beethoven's Symphony No. 9 with the Stamford Symphony (CT), appearances on opera galas with Opera at Florham and Kyrenia Opera, Mahler's Das Lied von der Erde with The Gateway Chamber Orchestra (TN), Handel's Messiah at Lincoln Center with Distinguished Concerts International New York, and a return to the Helena Symphony for C.P.E Bach's Magnificat. In April 2013 she was the winner of the female division in the Nico Castel International Master Singer Competition at Carnegie Hall. 

Past performances include the role of Mercedes in Carmen with Roanoke Opera, and soloist performances in Beethoven’s 9th Symphony with the Symphony of Northwest Arkansas. C.P.E Bach’s Magnificat and Haydn’s Paukenmesse with The Fairfield Chorale, Michael Tippett’s A Child of our Time with the Rhode Island Civic Chorale and Orchestra, Mozart’s Requiem with Manhattan Concert Productions at Alice Tully Hall in New York City and the OK Mozart Festival in Barltesville, OK, and a return to the Bard Music Festival to perform Chausson’s Chanson perpétuelle with piano quintet, which the New York Times hailed as “beautifully sung by mezzo soprano Teresa Buchholz”.  She also performed the mezzo solos in Bloch’s Sacred Service in a series of concerts in the summer of 2012 with the Collegiate Chorale and the Israel Philharmonic with Zubin Mehta conducting in Tel Aviv, Israel and Salzburg, Vienna.  The previous year she made her Carnegie Hall debut with Mid-America Productions as mezzo soloist for Durufle’s Requiem. Other performances for the 2010-2011 season included solo engagements with Rhode Island Civic Chorale and Orchestra (Messiah), The New York Philharmonic (Mendelssohn’s Elijah), The Greenwich Choral Society (Bach’s Mass in B Minor), The Monmouth Civic Chorus (Bach’s Mass in B Minor) and a return to The Fairfield Chorale(Norwalk, CT) for Mendelssohn’s Elijah.

After a successful solo debut with The Bard Music Festival in 2008, Teresa returned to the festival in August 2009 for a performance of Hans Eisler’s Tagebuch cantata. Other performances for the 2009-2010 season included solo engagements with The Duke Symphony (Dorabella in Cosí fan tutte), The Berkshire Bach Society (Bach’s Christmas Oratorio), and The East Texas Symphony (Handel’s Messiah) and a role with Teatro Grattacielo at Lincoln Center’s Rose Theatre (Serena in Wolf-Ferrari’s I Gioielli della Madonna).

Other appearances include a performance of Brahms duets (Op. 20 and 61) and a Rhinemaiden in a concert of Wagner opera excerpts with the Bard Music Festival, the second soprano solos in Mozart’s Mass in C Minor with the AmorArtis orchestra in Norwalk, CT, as well as solo recitals at Messiah College in Pennsylvania and St. Bartholomew’s Church in NYC.  Summer ‘08 marked her debut with Summer Opera Theatre in Washington DC as Carmen, where The Washington Times hailed her as “an outstanding Carmen, singing accurately and expressively while charging her character with a smoldering sexuality.”  Following that, her performance of Prokofiev arias for the Bard Music Festival was noted in the festival’s overall review in the New York Times.   In 2008 she also debuted with Asheville Lyric Opera and The Opera Company of North Carolina as Alisa in a shared production of Lucia di Lammermoor. In April ’08 she returned to The Duke Symphony Orchestra for the role of Hansel in Hansel and Gretel, where her Cherubino in La Nozze di Figaro was greeted with enthusiastic acclaim in ’06, and following that in May of ‘08 she returned to the Berkshire Bach society for the role of Orfeo in a semi-staged performance of Gluck’s Orfeo ed Euridice.

As an experienced oratorio soloist, Teresa has had past appearances with the Fordham University Choir for Mozart’s Requiem, and with the New Jersey Philomusica as Alto Soloist in Michael Haydn’s Requiem and Mozart’s Dominican Vespers. She has also been heard with the Bard College Symphonic Chorus as Maria in Respighi’s Laud to the Nativity and at Lincoln Center with the American Symphony Orchestra in Franz Schreker’s opera Der ferne Klang and Schumann’s oratorio Das Paradies und die Peri. She has appeared frequently with the Berkshire Bach society, where her appearances have included Handel’s Israel in Egypt, Pergolesi’s Stabat Mater, and J. S. Bach’s Magnificat, Cantata BWV 72 (“Ich habe genug”). Other notable performances have included Mozart’s c minor Mass and J. S. Bach’s Mass in b minor, both with the Chorus and Orchestra of St. Bartholomew’s Episcopal Church of New York City, and Pergolesi’s Stabat Mater with the New York Collegiate Chorale.  In making her Lincoln Center debut, Teresa was featured with the American Symphony Orchestra and Maestro Leon Botstein in a one-act opera by Paul Hindemith entitled Das Nusch-Nuschi. 

A graduate of the Yale University Opera Program, Indiana University, and the University of Northern Iowa, Teresa has been delighted to have spent several summers as a young artist with the Santa Fe Opera, the Opera Theatre of St. Louis, and the Natchez Opera.