Agnes Zsigovics is a Canadian soprano soloist. She sings internationally, records on major labels, and specializes in Early Music repertoire. The Early Music Review (UK) wrote she is "icily perfect", and "among the best ever". The New York Times praised her ardent lines and style at Carnegie Hall. A recent write-up in theWholeNote recognizes Agnes as "one of today's finest sopranos specializing in Early Music".  Agnes is featured on several acclaimed albums, including Juno-nominated The Heart’s Refuge and The Voice of Bach with Daniel Taylor, and OPUS-nominated Bach Johannes-Passion with Alexander Weimann. Her most recent feature is on The Vale of Tears, released in 2015.

Agnes' recently sang Bach's Mass in B Minor with the Calgary Philharmonic Orchestra under the direction of Ivars Taurins. This season marked her seventh appearance as guest soprano soloist at the Bethlehem Bach Festival and her debut singing Monteverdi's Vespers with Music of the Baroque (Chicago) under the direction of Jane Glover. Another highlight of this season was singing Bach’s St. Mark Passion at Festival d’Ambronay in France with the Paris based Early Music ensemble Le Concert Étranger. Last season’s engagements include her solo debut with Tafelmusik , Dido and Aeneas (Theatre of Early Music), Bach’s Mass in B minor (King’s Chapel Choir), Bach’s St. Matthew Passion (Grand Philharmonic Choir) and a solo recital at the Elora Festival. 

Other career highlights include Carnegie Hall, Washington Bach Consort, The National Ballet, The Oregon Bach Festival, I Musici, Toronto Symphony Orchestra, and tours to Peru, Brazil and Germany.

Click here for Repertoire List.

The voice of Agnes Zsigovics, soprano, soared like the voice of an angel.
— Bethlehem Press, May 2016
Soprano Agnes Zigovics sang with beauty and eloquent simplicity.
— Chicago Herald, May 2016
Their rapport (between Agnes Zsigovics and Daniel Taylor) is striking and their voices together are pellucid, meshing with a harmonic precision reminiscent [...] of what one hears in his duet work with his great collaborators - Suzie Leblanc, Emma Kirkby and Nancy Argenta.
— David Perlman, Whole Note Magazine, June 2015
Sopranos Yulia Van Doren and Agnes Zsigovics brought purity of sound and expressivity to several of the movements, including ‘Pulchra es.’
— Terry McQuilkin, The Register-Guard, June 2014
The singers included sopranos Nancy Argenta, Karina Gauvin and Agnes Zsigovics, countertenor Daniel Taylor, tenor Charles Daniels and baritone James Westman...the next set was drawn from four different oratorios. All were well done, with Zsigovics’ rendition of “The Pilgrim’s Home” from Theodora being particularly moving.
— Richard Todd, Ottawa Citizen, July 2012
Tenor Lawrence Wiliford’s lovely ‘Erwäge, wie sein blutgefärbter Rücken’ and soprano Agnes Zsigovics’ shimmering, mostly wind-accompanied solo, ‘Zerfliesse, mein Herze,’ are among the highlights of the album.
— Stephen Eddins, April 2012
Sopranos Agnes Zsigovics and Hélène Brunet enchanted the audience with their beautifully blended duet in ‘Laudamus te’. Zsigovics also shone in ‘Domine Deus,’ naturally shaping each phrase with her clear, round voice, accompanied by the elegant, lush playing of oboist Matthew Jennejohn.
— Hannah Rahimi, La Scena Musicale, November 2011
...a bright, clear and transparent sound; a springy feel for rhythm; beautifully shaded dynamics; and exemplary diction...
— Steve Smith, The New York Times, May 2011
Agnes Zsigovics brought the audience into the realm of vocal excellence extraordinaire with an astonishing performance of Hildegard of Bingen’s (1098-1179) Ave Generosa.
— S. James Wegg, March 2011
...He (Daniel Taylor) and some colleagues put on a brief concert of Lute Songs...and some of the singing was done by the silver-voiced young soprano Agnes Zsigovics. Her singing was equal to Taylor’s in beauty...

Among the highlights of the program were the opening duet, Come again, come again...
— Richard Todd, Ottawa Citizen, July 2010
The hauntingly beautiful voices of Taylor and Zsigovics, she in her festival debut, melted together like two precious metals, hers of bell-like clarity, his a more complex alchemy, with a sheen like liquid mercury.
— Steve Siegel, The Morning Call, May 2010
Soprano Agnes Zsigovics, was a dream to experience. With a pure sense of sweetness, she invoked a soft satin one might expect in middle voice, though inexplicably extending this supple air over her entire range. In addition to a perpetually tender grace, the soprano could also invoke muscular reserve when called upon — overall she was pure pleasure to listen to...
— Hamilton's The Record, November 2009
She sent a thrill down my spine when she hit the first note of her solo squarely and pure.
— Dundas Star News, May 2007
The blend was beautifully achieved of the two sopranos in the unabashedly sensuous “Pulchra es.”
— Chicago Tribune, April 2016
Agnes Zsigovics sang in a relaxed manner and a soft, dark voice, spinning out long, elegant phrases.
— Michael Miller, New York Arts, October 2015
Soprano Agnes Zsigovics’ arias were sung in a graceful and seemingly effortless manner. Her silvery and mellifluous voice wafted throughout the sanctuary capturing a beautiful Handelian style. All the singers in fact shared the finest sensitivity with regard to the production of sound.
— Constance Madelina, August 2014
Cantata 78 featured one of the gems of the entire evening, the soprano/alto duet ‘Wir eilen mit schwachen,’ featuring Zsigovics and Taylor, backed by O’Sullivan on cello. A sweeter, more expressive melding of voices can hardly be imagined.
— Steve Siegel, The Morning Call, May 2014
Soprano Agnes Zsigovics delivers a wonderful final aria, ‘Zerfliesse, mein Herze,’ that makes you wonder if it’s not the emotional peak of the work!
— Rick Phillips, Opera Canada, June 2012
The evening program opened with the second Reformation Cantata, BWV 80, and its rousing Lutheran hymn, ‘Ein fest Burg is unser Gott.’ Particularly moving was soprano Agnes Zsigovics, accompanied by Loretta O’Sullivan on cello…
— Steven Siegel, The Morning Call, May 2012
...making her debut with the consort, Zsigovics sang with a sweet, light soprano that floated in the beauty of the National Presbyterian Church sanctuary...

...Pergolesi’s Stabat Mater brought the beauty of both voices together. Zsigovics and Taylor had a wonderful blend. Their phrasing and ornaments “fit the music like a glove.” In the duet, O quam tristis, there was a sense of urgency to the singing, with the soaring soprano of Zsigovics interwoven with the depth of Taylor’s countertenor.

...Other moments of musical ecstasy came in the solo movements... In ‘Vidit suum dulcem datum,’ Zsigovics was sublime...”
— Patrick McCoy, Washington, The Examiner, November 2011
Soprano Zsigovics’s gorgeous rendition of the aria Bereite dir, Jesu was one of the evening’s highlights...

Soprano Agnes Zsigovics and bass Alexander Dobson did an especially beautiful job in the duet ‘Wann Kommst Du?’. And their rendition of Mein Freund Ist Mein was similarly well-focused and musical.
— Richard Todd, Ottawa Citizen, December 2010
Gregorio Allegri’s ‘Miserere mei, Deus’...was a joy to hear on Sunday, not least on account of the soaring refrain so beautifully rendered by soprano Agnes Zsigovics.
— Richard Todd, Ottawa Citizen, July 2010
..Zsigovics had a creamy, velvety tone. Zsigovics’ soulful, yearning aria, Quia respexit, with oboe obbligato by Mary Watt, was a highlight, as was Esurientes implicit, sung by Taylor and accompanied by flutists Robin Kani and Susan Charlton.
— Steve Siegel, Special to The Morning Call, May 2010
Taylor also sings two meticulously prepared duets with Agnes Zsigovics (‘Wir eilen mit Schwachen’ and ‘Du wahrer Gott und Davids Sohn’).
— The Collaborative Piano Blog, October 2008
Agnes Zsigovics (remember that name because she’s a real gem) was my favourite; her voice made me melt, it was intoxicating. It was over too soon.
— Handel's Messiah, April 2008
Consisently inspired... bell-toned soprano Agnes Zsigovics.
— Chicago Classical Review, April 2016
The singing is very fine and besides Müller I very much enjoyed the soprano soloists, Agnes Zsigovics and Ellen McAteer.
— Hans de Groot, Whole Note Magazine, October 2015
Sopranos Yulia Van Doren and Agnes Zsigovics alluringly entwined voices in ‘Pulchra es.’
— Mark Mandel, The Oregonian, June 2014
I was particularly impressed by Zsigovics’ ringing and polished singing.
— Philip A. Metzger, The Morning Call, May 2014
The baroque vocal highlight was the Troisième leçon de Ténèbres by the younger Couperin, expressively sung by sopranos Teri Dunn and Agnes Zsigovics.
— John Terauds, Musical Toronto, February 2013
The star for me is the soprano Agnes Zsigovics — icily perfect in her grief in Zerfliesse... don’t miss Agnes — among the best ever.
— David Stancliffe, Early Music Review, April 2012
Agnes Zsigovics as the Second Woman brought the same ringing tone she employed in her earlier solo, “Pilgrim’s Home” from Handel’s Theodora. Her clean, assertive style sets her apart.
— Gwenda Nemerofsky, Manitoba, February 2012
Agnes is a promising soprano with a haunting early music style and I hope to hear much more from her in the future. In particular, the ornamentation in Agnes’ ‘Lascia ch’io pianga’ from Handel’s Rinaldo was beautifully understated and authentic....The highlights of the second half were the infrequently performed ‘The Pilgrim’s Home’ from the oratorio Theodora which was lovingly sung by Agnes Zsigovics...
— Classical Music Edmonton, October 2011
A highlight of the performance was the aria ‘With Tears Overflowing’ [Zerfliesse] by soprano Agnes Zsigovics… serene, floating and sumptuous — leaving the listener spellbound.
— Stephen Preece, The Record, April 2011
...we were treated to the stellar singing of Agnes Zsigovics and outstanding playing of trumpeter Larry Wright... Jaws agape at the end of the cantata, the audience offered a much-deserved standing ovation for the performers.
— David Ruhf, Bach in Bethlehem, September 2010
I recall a ring of my mother’s, a basket-weave pattern of strands of silver and gold, the two metals intertwined in a tight embrace. That’s the best way I can describe the melding of the voices of countertenor Daniel Taylor and soprano Agnes Zsigovics in Giovanni Battista Pergolesi’s Stabat Mater. The Stabat Mater, in its festival debut, was for me the highlight of an entire evening of lovingly performed music.
— Steve Siegel, The Morning Call, May 2010
A wonderfully pure tone and expressive delivery were the hallmarks of soprano Agnes Zsigovics. With the inclusion of Victoria Ellis Hathaway (English horn) and flautist Anne Thompson in the instrumental accompaniment of Zerfliesse mein Herze, the music wove its sombre spell with great distinction.
— S. James Wegg, March 2010
The large-calibre soloists included soprano Agnes Zsigovics, countertenor Daniel Taylor, tenor Benjamin Butterfield and Bass Daniel Lichti...Zsigovics and Taylor sang the duet to exquisite perfection.
— The Ottawa Citizen, April 2008
...the performance of Cantata BWV 23 last evening was a feast of beauty, featuring four wonderful soloists, especially the emerging young alumna, Agnes Zsigovics, whose clear, liquid soprano made her aria soar.
— The International Bach Festival, Toronto, October 2006