{{Short description|American operatic soprano (1946–2012)}} {{Use mdy dates|date=November 2025}} {{Infobox person | image = Soprano Sherry Zannoth.png | caption = Zannoth in 1981 | birth_date = {{Birth date |1946|02|15}} | birth_place = Detroit, Michigan, U.S. | death_date = {{Death date and age |2012|11|20|1946|02|15}} | death_place = New York City, U.S. | education = {{ubl| Oberlin College | Eastman School of Music }} | occupation = {{ubl| Operatic soprano | Academic teacher }} | organizations = {{ubl| Theater Bremen | New York City Opera | New Arts Ensemble | Ithaca College | Memphis State University }} }} '''Sherry Zannoth''' (February 15, 1946 – November 20, 2012), also known by her married name '''Sherry Zannoth Cavalli''',<ref name="Ithaca">{{cite book|url=https://books.google.com/books?id=bZBBEQAAQBAJ&dq=Sherry+Zannoth+did+not+study&pg=PT380|title=Continuator: The Autobiography of a Socially-Conscious, Cosmopolitan Composer|first=Leonard J.|last= Lehrman|year= 2024|publisher=Dorrance Publishing Company|isbn=979-8-89341-771-5}}</ref> was an American operatic soprano and voice teacher.

Born in Detroit and raised in Pontiac, Michigan, she was educated as an opera singer at Oberlin College and the Eastman School of Music. She had an active performance career in concerts and operas from the late 1960s into the 2000s. In 1971 she was a founding member of the New Arts Ensemble (NAE), a professional chamber music group based in Rochester, New York. In 1976 she performed the title role in Puccini's ''Madama Butterfly'' for Opera Cleveland's inaugural production. Some of the other American companies she performed with during her career included the New York City Opera, Metropolitan Opera, Seattle Opera, Toledo Opera, Charlotte Opera, and the Kentucky Opera among others.

On the international stage Zannoth was a principal soprano at Theater Bremen from 1984 to 1994. She also performed in operas at the Teatro de Cristóbal Colón in Colombia, the Wexford Festival Opera in Ireland, the Hong Kong Opera, and at other theaters in Germany. In addition to Butterfly, other roles she sang frequently during her career included Mozart roles such as Countess Almaviva in ''The Marriage of Figaro'' and Donna Anna in ''Don Giovanni'', Micaëla in Bizet's ''Carmen'', both Mimì and Musetta in Puccini's ''La bohème'', and Violetta in Verdi's ''La traviata''. She taught voice on the music faculties of Ithaca College and Memphis State University. She also worked as a sacred music vocalist for many years at both Rutgers Presbyterian Church and Hebrew Tabernacle of Washington Heights in New York City. She died in 2012 at the age of 66.

== Early life and education == The daughter of George L. Zannoth and Dawn Wright Zannoth,<ref>Mrs Dawn W Zannoth in the ''U.S., City Directories, 1822–1995''</ref><ref>{{cite news|title=Robert J. Williams|work=The Times Herald|date=May 28, 2006|page=12}}</ref> Sherry L. Zannoth was born on February 15, 1946<ref>Sherry L. Zannoth in the ''U.S., Social Security Death Index, 1935–2014''</ref><ref>Sherry L Zannoth in the ''U.S., Public Records Index, 1950–1993, Volume 2''</ref> in Detroit.<ref name="MC">{{cite journal|title=Zannoth, Sherry|journal=Musical Clubs Magazine|year=1976|volume=56–58|page=16|url=https://books.google.com/books?id=WdbjAAAAMAAJ&q=%22Sherry+Zannoth%22+%22detroit%22}}</ref> Her father worked for General Motors.<ref name="MWA"/> Her great-grandfather was a voice teacher and her great-grandmother was his accompanist.<ref name="MC"/> She was educated at Waterford Township High School (now demolished) in Pontiac, Michigan.<ref>{{cite journal|journal=The Waterlog|volume=XV|editor-first=Dick|editor-last=Rudlaff|year=1962|title=Our Entertainment|page=25|location=Pontiac, Michigan|publisher=Waterford Township High School }}</ref> In her early childhood, she began her training as a pianist and did not pursue studies as a vocalist until she was a teenager.<ref name="MC"/>

After graduating from high school, Zannoth studied at the Oberlin Conservatory of Music in Ohio where she attended on a voice scholarship.<ref name="MC"/> While a student at Oberlin she studied singing with Helen Hodam.<ref>{{cite news|title=Alumna sings|page=4|date=February 12, 1981|work=The Observer|publisher=Oberlin College|volume=2|number=11}}</ref> She was the soprano soloist in the school's performances of Haydn's ''Nelson Mass'' which were conducted by Robert Shaw.<ref name="Top"/> In her junior year, she performed her first opera role, portraying Fiordiligi in a student production of Mozart's ''Così fan tutte''.<ref name="MOD"/> In the summer of 1968 she portrayed the title role in Oberlin's production of ''The Merry Widow'' with tenor Barry Busse as Danilo and Andrew Meltzer conducting.<ref>{{cite news|title=Good Voices, Acting, Lift ''Merry Widow''|first=Ralph|last=Hickock|work=The Standard-Times|date=July 12, 1968|page= 4}}</ref> Other parts she performed with the Oberlin Players that summer on tour to Massachusetts included Mabel in Gilbert and Sullivan's ''The Pirates of Penzance'',<ref>{{cite news|title=Oberlin Players 1st Rate in ''Pirates of Penzance''|first=Brad|last=Hathaway|work=The Standard-Times|date= July 31, 1968|page= 10}}</ref> Elsie Maynard in ''The Yeomen of the Guard'',<ref>{{cite news|title=Curtain Calls are Many for Opera Falmouth|work=The Standard-Times|date= August 21, 1968|page= 30}}</ref> and Mary Stone in Douglas Moore's ''The Devil and Daniel Webster''.<ref>{{cite news|title=This is a Good Week for Theater if Your Relatives are Here|work=The Standard-Times|date= August 11, 1968|page= 41|first=John H.|last=Ackerman}}</ref> She returned to Oberlin's summer opera theatre program in 1969, performing Micaëla in Bizet's ''Carmen''<ref>{{cite news|title=Oberlin Music Theatre Overtaxed by ''Carmen''|first=Wilma|last=Salisbury|work=The Plain Dealer|date= July 25, 1969|page= 20}}</ref> and Mimì in Puccini's ''La bohème'' (conducted by Leonard Slatkin).<ref>{{cite news|title=Oberlin Spotlights ''La boheme''|work=The Plain Dealer|date=August 10, 1969|page= 147}}</ref>

After graduating from Oberlin in 1968, Zannoth attended graduate school at the Eastman School of Music at the University of Rochester on a voice scholarship.<ref name="MC"/> In November 1968 she portrayed Giorgetta in Eastman's production of Puccini's ''Il tabarro''.<ref>{{cite news|title=Eastman's Opera Talent Show's Promise|first=Harvey|last=Southgate|work=Democrat and Chronicle|date= November 9, 1968|page= 41}}</ref> In March 1969 she sang in a program of experimental music at the Eastman Theatre referred to as spatial music, performing as the soprano soloist in the premiere of Henry Brant's ''Millennium I''. She performed the work with Eastman's brass ensemble whose members were spread out throughout the theatre in order to spatially surround the audience.<ref>{{cite news|title=Musician-Surrounded Audience|work=Democrat and Chronicle|date= March 30, 1969|page=4G|first=Harvey|last=Southgate}}</ref> In 1970 she represented Eastman at a composer's symposium in Montreal, Canada.<ref name="MOD"/> In February 1970 she performed the role of Dido in Eastman's production of Purcell's ''Dido and Aeneas''.<ref>{{cite news|title=Young Connoisseurs|first=Joan|last=Rizzo|work=Democrat and Chronicle|date= February 15, 1970|page=10, section SHOW}}</ref> In December 1970 she performed text in the Aztec, Mayan, and Quechuan languages as the soprano soloist in Alberto Ginastera's ''Cantata para America Majica'' at the Eastman Theatre.<ref>{{cite news|title=Percussion Man|first=Margaret|last=Converse|pages=C1, C2|work=Democrat and Chronicle|date= December 4, 1970}}</ref> In January 1971, she was soprano soloist in Eastman's performances of the Verdi Requiem.<ref>{{cite news|title=''Requiem'' Stirring Concert|first=Harvey|last=Southgate|work=Democrat and Chronicle|date= January 20, 1971|page= 28}}</ref>

Zannoth graduated from Eastman with a master's degree in vocal performance in 1972.<ref>{{cite news |last=Klein |first=Julie |date=June 5, 1981 |title=Oberlin Grad Sherry Zannoth Returns as a Met Opera Star |work=The Journal (Lorain, Ohio) |page=16}}</ref> In 1970, she was regional finalist in the Metropolitan Opera National Council Auditions.<ref name="MOD"/> In 1973, she married Vincent Cavalli.<ref>Sherry Zannoth in the ''New York, New York, U.S., Marriage License Indexes, 1907–2018'', marriage license 9344</ref> That marriage ended in divorce, as did a later second marriage.<ref name="MWA"/>

== Performance career == ===Early career: 1967–1976=== Zannoth began her career on the concert stage in the 1960s with her early performances including singing the soprano solos in Handel's ''Messiah'' with the Cleveland Orchestra in a concert at Thiel College and in performances with the symphony and chorus of Muskingum College in 1967.<ref name="Top">{{cite news|title=Four Top Soloists Soloists Featured in ''Messiah'' at Muskingum|work=The Times Recorder|date= December 9, 1967|page= 9}}</ref> On December 7, 1968, she performed the world premiere of Warren Benson's song cycle for soprano and band ''Shadow Wood'' at the convention for the Music Educator's Association of Monroe County, New York, a work she later repeated at the 1969 New York State School Music Association conference in Buffalo, New York<ref>{{cite journal|url=https://books.google.com/books?id=NHcJAQAAMAAJ&q=%22Sherry%20Zannoth%22|page=48|title=Edward J. Beebe|journal=Pan Pipes of Sigma Alpha Iota|volume= 61|number= 2|year=1969}}</ref> and with the Eastman Wind Ensemble at the 1972 convention of the College Band Directors National Association.<ref>{{cite news|title=70 Wind Ensemble Conductors Meeting|work=Democrat and Chronicle|date= April 7, 1972|page= 20}}</ref> In November 1969, she was the soprano soloist in the Rochester Oratorio Society's presentation of Haydn's ''The Creation'' with conductor Theodore Hollenbach and the Rochester Philharmonic Orchestra.<ref>{{cite news|title=Inspired ''Creation'' Opens Season|first=Harvey|last=Southgate|work=Democrat and Chronicle|date= November 24, 1969|page= 47}}</ref> She repeated this work with the Corning Philharmonic Society in April 1970,<ref>{{cite news|title=Rochester Soprano Hit at Concert|first=Salle|last=Richards|work=Star-Gazette|date= April 13, 1970|page= 7}}</ref> and at Muskingum College in 1971.<ref>{{cite news|title=Creation at Brown Chapel|work=The Times Recorder|date= November 28, 1971|page= 18}}</ref>

In 1971, Zannoth was a founding member of the New Arts Ensemble (NAE), a professional chamber music group based in Rochester that was dedicated to performing new music in seasons of chamber music concerts.<ref>{{cite news|title=Modern Impossible Dream|first=Theodore|last= Price|work=Democrat and Chronicle|date=November 8, 1971|page=C1}}</ref> That year she performed the world premiere of Joseph Packales's ''An Allegory of War'' with the NAE.<ref>{{cite news|title=An Allegory of War Too Much|work=Democrat and Chronicle|date= November 15, 1971|page= 25|first=Theodore|last=Price}}</ref> In April 1971, she made her professional opera debut with the Opera Theatre of Rochester (OTR) in the title role (Cio-Cio-San) of Puccini's ''Madama Butterfly'' with Richard Taylor as Pinkerton and conductor Taavo Virkhaus leading the Rochester Philharmonic.<ref name="MOD">{{cite news|title=It's Mod Music for Sherry|first=Linda|last=Chiacaroli|work=Democrat and Chronicle|date= January 23, 1972|pages=32–33, section UPSTATE}}</ref><ref>{{cite news|title=Singing Saves ''Madama Butterfly''|work=Democrat and Chronicle|date= April 24, 1971|pages=1C, 5C|first=Theodore|last=Price}}</ref> That same month she was the soprano soloist in Bach's ''St John Passion'' at the Rochester Bach Festival.<ref>{{cite news|title=5 Singers in Bach Program|work=Democrat and Chronicle|date= April 4, 1971|page= 121}}</ref>

In May 1971, Zannoth performed at Temple B'rith Kodesh as the soprano soloist in the first performance in the United States of Volunio Gallichi and Francesco Drei's ceremonial music written for the 1786 dedication of the Siena Synagogue.<ref>{{cite news|title=Premiere at Temple|work=Democrat and Chronicle|date= May 1, 1971|page= 20|first=Theodore|last=Price}}</ref> In July 1971, she sang with Diane Curry in a program of Rodgers and Hammerstein music with the Chautauqua Symphony Orchestra (CSO),<ref>{{cite news|title=Concert Features Young Polish Pianist|work=Syracuse Herald-Journal|date= July 14, 1971|page= 30}}</ref> and soon after sang a program of music by Richard Strauss with the CSO.<ref>{{cite news|title=Chautauqua Offers Rowan, Celebration in Sound|work=The Buffalo News|date= August 5, 1971|page=17}}</ref> In August 1971, she performed in Ibert's ''Angélique'' with Chautauqua Opera.<ref>{{cite news|title=Opera Association Plans to Present Double Bill|work=Syracuse Herald-Journal|date= August 10, 1971|page=27}}</ref> In 1972, she was the guest soloist in the Rochester Philharmonic's concert "Ecology in Music".<ref>{{cite news|title=Ecology Expedition in Music|work=Democrat and Chronicle|page=12C|date=January 19, 1972}}</ref> In March 1972, she performed Schubert's "The Shepherd on the Rock" and the aria "L'amerò, sarò costante" from Mozart's ''Il re pastore'' with the Rochester Philharmonic,<ref>{{cite news|title=Seven Form Chamber Soloists Ensemble|work=Democrat and Chronicle|date= March 2, 1972|page= 22}}</ref> and performed in concerts with the NAE at Hobart and William Smith Colleges<ref>{{cite news|title=Ensemble to Give Concert at Colleges|work=Finger Lakes Times|date= March 9, 1972|page= 5}}</ref> and Xerox Auditorium.<ref>{{cite news|title=Musical Gap Filled|work=Democrat and Chronicle|date= March 21, 1972|page= 24}}</ref> With the NAE she performed Schoenberg's monodrama ''Pierrot lunaire'' in May 1972.<ref>{{cite news|first=Laurie|last=Modell|title=New Arts Ensemble Concert Illuminating|work=Democrat and Chronicle|date= May 21, 1972|page= 36}}</ref> In June and July 1972, she performed two concerts of Italian opera arias in return engagements with the CSO: one led by conductor Walter Hendl<ref>{{cite news|title=Sumer Music '72|work=Democrat and Chronicle|date=June 4, 1972|page= 150}}</ref> and the other by Louis Lane.<ref>{{cite news|title=Chautauqua Symphony Orchestra|work=Democrat and Chronicle|date= July 30, 1972|page= 110}}</ref>

In the summer of 1973, Zannoth appeared as Cio-Cio-San with the Singers Theater of Mahopac<ref>{{cite news|title=Mahopac Group Offers Puccini|first=Lou|last=Cevetillo|work=The Reporter Dispatch|date=August 28, 1973|page= 8}}</ref> and subsequently as Mimì and Micaëla with that company.<ref name="Diction"/> In November 1973, she performed a recital at Marymount College, Tarrytown with repertoire that included Felix Mendelssohn's ''Lieblingsplätzchen'', lieder by Gustav Mahler, chansons by Gabriel Faure, and arias from ''The Rake's Progress''.<ref name="Diction">{{cite news|title=Zannoth's Diction Tongue Twisting|work=The Daily Item|date= November 8, 1973|page= 21|first=Lou|last=Cevetillo}}</ref> In May 1974, she starred in a production of Carlisle Floyd's first opera, ''Slow Dusk'', at the Emelin Theatre,<ref>{{cite news|title=Society Gives Voice to Opera|first=Louisa|last=Kreisberg|work=The Herald Statesman|date= May 17, 1974|page= 60}}</ref> and that same month won the East-West singing competition.<ref name="EW">{{cite news|title=People Talk|first=Nancy|last=Westbrook|work=The Times Herald|date= February 11, 1975|page= 9}}</ref> In October 1974, she gave a recital at Milligan College,<ref>{{cite news|title=Voice Recital Slated Tuesday at Milligan|work=Elizabethton Star|date= October 21, 1974|page= 4}}</ref> and the following December she performed at Carnegie Hall.<ref name="EW"/> In January 1975, she returned to the OTR in the role of Micaëla with Hilda Harris as Carmen.<ref>{{cite news|title=''Carmen''— A Dramatic and Most Honest Work|work=Democrat and Chronicle|date=January 15, 1975|page= 28}}</ref>

In 1975, Zannoth became a member of Goldovsky Opera Theater with whom she performed the roles of Serafina in Donizetti's ''The Night Bell'' and Lia in Debussy's ''The Prodigal Son'' at the University of Michigan's Power Center for the Performing Arts.<ref>{{cite news|title=Opera Production Textbook Case?|first=Norman|last=Gibson|work=The Ann Arbor News|date= February 14, 1975|page= 21}}</ref> That same year she portrayed Cio-Cio-San with the Music Theatre of Ohio<ref>{{cite news|title=Parm Heights Turn to Opera|first=Frank|last=Hruby|work=The Cleveland Press|date= May 21, 1975|page= 53}}</ref> and the Countess in ''The Marriage of Figaro'' with the Performing Arts Society of Westchester.<ref>{{cite news|title=Westchester's aflutter over Figaro's Nuptials|first=Kathie|last=Beals|work=The Standard-Star|date= November 21, 1975|page= D7}}</ref> In 1976, she returned to the OTR as Donna Elvira in ''Don Giovanni''<ref>{{cite news|title=''Don Giovanni'' Lacks Dramatic Thrust|work=Democrat and Chronicle|date= January 17, 1976|page= 13}}</ref> and portrayed Cio-Cio-San with the Wichita Symphony Orchestra,<ref>{{cite news|title=''Madame Butterfly'' Traditional Treat to Enjoy|first=Bob|last=Curtright|work=The Wichita Eagle|date= November 21, 1976|page=3F}}</ref> the Kentucky Opera<ref>{{cite news|title=Audience Loved KOA's ''Butterfly'', But There Were Musical Woes|first=William|last=Mootz|work=The Courier-Journal|date= October 16, 1976|page= 8}}</ref> and Opera Cleveland.<ref>{{cite news|title=Ambitious Premiere: ''Butterfly'' Marks Attempt to Fill the Void|work=The Plain Dealer|date= October 24, 1976|page= 29}}</ref> It was notably the latter company's inaugural performance.<ref>{{cite news|title=Opera Group Opens With Gusto|first=Frank|last=Hruby|work=The Cleveland Press|date= October 23, 1976|page= 10}}</ref> In February 1976, she portrayed Anna Maurrant in Kurt Weill's ''Street Scene'' at the Manhattan School of Music, with ''The New York Times'' critic Raymond Ericson praising her performance as "particularly well handled".<ref>{{cite news |last=Ericson |first=Raymond |date=February 29, 1976 |title=Manhattan School Stages 'Street Scene' |work=The New York Times|url=https://www.nytimes.com/1976/02/29/archives/manhattan-school-stages-street-scene.html?searchResultPosition=1}}</ref> With clarinetist&nbsp;Larry Guy and pianist Dan Franklin Smith she sang Ned Rorem's song cycle ''Ariel'' at Weill Recital Hall in March 1976.<ref>{{cite news|title=Music in Review|url=https://www.nytimes.com/1976/03/14/archives/music-in-review-harness-tenor-bows-in-regiment-laufman-sisters-play.html?searchResultPosition=1|work=The New York Times|date=March 14, 1976|page= 49}}</ref>

===Later career=== In January 1977, Zannoth portrayed Donna Anna to John Reardon's Don Giovanni and Jacque Trussel's Don Ottavio with the Lansing Opera Guild (later the Opera Company of Mid-Michigan) at Michigan State University.<ref>{{cite news|title=''Giovanni'' Seduces 2,800 More at Opera|first=Maurice A.|last=Crane|work=Lansing State Journal|date= January 16, 1977|page= 20}}</ref> On March 19, 1977, she made her debut at the New York City Opera (NYCO) as Musetta in ''La bohème''.<ref name="MC"/> Others in the cast, which was repeated the following season in New York, included Mariana Nicolesco as Mimì, Lando Bartolini as Rodolfo, and William Justus as Marcello.<ref>{{cite news|title=Opera: ''Boheme''|author=Peter G. Davis|url= https://www.nytimes.com/1977/09/26/archives/operaboheme-miss-niculescu-wins-fresh-bravos-for-her-mimi.html?searchResultPosition=6|date=September 26, 1977|page= 43}}</ref> Other roles she sang with the NYCO during her career included Nedda in Leoncavallo's ''Pagliacci'' (1977, with Herman Malamood as Canio)<ref>{{cite news|title=NYCO's Cav and Pag Dreary|work=The Herald Statesman|date= November 5, 1977|page= 5|first=Lou|last=Cevetillo}}</ref> and the Second Lady in Mozart's ''The Magic Flute'' (1978).<ref>{{cite news|title=Music|first=Glenne|last=Currie|work=The Arizona Republic|date= October 23, 1978|page= 19}}</ref> An NYCO performance of ''Pagliacci'' with Zannoth was recorded live for national radio broadcast on November 27, 1977.<ref>{{cite news|title=Performances on the Air|work=The Houston Post|date= November 27, 1977|page= 83}}</ref> In 1979 she portrayed Javotte in the NYCO's production of Massenet's ''Manon'' with Catherine Malfitano in the title role.<ref>{{cite news|url=https://www.nytimes.com/1979/10/24/archives/opera-malfitano-manon.html?searchResultPosition=12|title=Opera: Malfitano ''Manon''|date=October 24, 1979|page=C22|author=Peter G. Davis}}</ref>

In June 1977, Zannoth returned to Carnegie Hall to perform Ivana Marburger Themmen's song cycle ''Mystic Trumpeter'' in a concert sponsored by the National Association of Composers, USA.<ref>{{cite news|title=Music: National Composers Association's Debut Attracts and Repels|author=Raymond Ericson|work=The New York Times|date=June 23, 1977|page= 65}}</ref> She toured with the NYCO to the Dorothy Chandler Pavilion in Los Angeles in December 1977. ''Los Angeles Times'' critic Lewis Segal stated the following in his review: <blockquote> Chief novelty in the Saturday cast was Sherry Zannoth's Musetta, depicted as a woman of considerable intelligence in complete control of the spitfire facade adopted for Alcindoro. Singing the waltz song with unexpected simplicity, Zannoth saved the flouncing for her shoe charade and instead demonstrated the warmth and luster she can bring to music often tarnished with insensitivity.<ref>{{cite news|title=Music Reviews|first=Lewis|last=Segal|work=The Los Angeles Times|date= December 5, 1977|page= 71}}</ref></blockquote>

Zannoth concluded the year of 1977 performing as soprano soloist in Handel's ''Messiah'' with the Oratorio Society of New York at Carnegie Hall.<ref name="NJS">{{cite news|title=New Jersey Symphony Plays July 1 at Kasschau|first=Kathy|last=Hecht|work=Paramus Post|date=June 14, 1978|page= 23}}</ref> She then resumed performing with NYCO ''La bohème'' cast in 1978 when David Rendall took over the role of Rodolfo.<ref>{{cite news|title=Rendall is Rodolfo In City Opera Debut|url=https://www.nytimes.com/1978/04/22/archives/rendall-is-rodolfo-in-city-opera-debut.html?searchResultPosition=7|date=April 22, 1978|page= 11|work=The New York Times}}</ref> She sang Musetta in Lansing in 1978 with Nadine Secunde as Mimì,<ref>{{cite news|title=Opera Recaptures the Romance of Paris|work=Lansing State Journal|date=January 15, 1978|page= 17}}</ref> and that same year performed the role of Donna Anna to Claude Corbeil's Don Giovanni at the Charlotte Opera.<ref>{{cite news|title=''Don Giovanni'' Closes Opera Season|work=Statesville Record and Landmark|date=April 8, 1978|page= 17}}</ref> In the summer of 1978, she went on a concert tour with the New Jersey Symphony which was then led by conductor Thomas Michalak.<ref name="NJS"/><ref>{{cite news |title=N.J. Symphony Comes to Vineland |work=Atlantic City Sunday Press |date=July 16, 1978}}</ref> After this she returned to Rochester to once again appear as Butterfly<ref>{{cite news|title=Uneven Production of a Subtle Opera|first=George|last=Murphy|work=Democrat and Chronicle|date= September 25, 1978|page=1C}}</ref> and appeared as Micaëla in ''Carmen'' in a production in New Jersey.<ref>{{cite news|work=Passaic County News|date=November 7, 1978|page= 16|title=''Carmen'' Comes to Jersey in Opera Classics Season}}</ref> She was also a featured soloists with the Erie Philharmonic in 1978.<ref>{{cite news |title=Erie Philharmonic Opens 1978–79 Season |work=Erie Times-News |date=September 3, 1978}}</ref>

In 1979, Zannoth repeated the role of Micaëla at the Toledo Opera with Ann Howard in the title role,<ref>{{cite news|title=Toledo Opera Group Sings ''Carmen'' at Auditorium|work=The Toledo Blade|date= January 22, 1979|page= 6}}</ref> and returned to Donna Anna for her debut with the Seattle Opera with Roderick Ristow as Don Giovanni.<ref>{{cite news|title=English Performances of ''Don Giovanni''|work=The News Tribune|date= March 30, 1979|page=57}}</ref> That same year she performed again with Opera Cleveland as Rosalinde in ''Die Fledermaus'' in what ''The Cleveland Press'' described as earning her "show-stopping applause".<ref>{{cite news|title=It's Fine Fledermaus|work=The Cleveland Press|date= March 2, 1979|page= 14|first=Frank|last=Hruby}}</ref> In March 1979, she gave a recital in the rotunda of the Michigan State Capitol building.<ref>{{cite news|title=Rotunda Recital Tuesday, Soprano Confronts Capitol|work=Lansing State Journal|date= March 10, 1979|page=D6}}</ref> In June 1979, she returned to Lansing to appear as Gilda in Verdi's ''Rigoletto'' with {{ill|Ferdinand Radovan|hr}} in the title role.<ref>{{cite news|title=It's Not the Met, but its Verdi Shines|work=Detroit Free Press|date= June 2, 1979|page=11}}</ref> In November 1979, she portrayed Konstanze in Mozart's ''Die Entführung aus dem Serail'' at the Jackson Municipal Auditorium with Opera/South.<ref>{{cite news|title=Opera/South Opens Season with Comedy|work=Clarion-Ledger|date= November 16, 1979|page=C1}}</ref>

In 1980, Zannoth performed with the Asolo Opera (now the Sarasota Opera) in Sarasota, Florida as Butterfly,<ref>{{cite news |title='Butterfly' Opens Asolo Jan. 1 |work=Sarasota Herald-Tribune |date=December 23, 1979}}</ref> and sang Musetta with both the Spokane Symphony<ref>{{cite news|title=''La Boheme'' Sparkles Here|work=Spokane Chronicle|date= May 15, 1980|page= 43}}</ref> and Opera Memphis.<ref>{{cite news|title=Opera Memphis ''Boheme'' a Performance to Enjoy|work=The Memphis Press-Scimitar|date= March 3, 1980|page= 17}}</ref> That same year she portrayed Donna Anna with Mobile Opera with the ''Mobile Press-Register'' praising her performance as "graceful and commanding", and highlighting her "dramatic range and vocal strength".<ref>{{cite news |title=Zannoth Shines in Mobile Opera's 'Don Giovanni' |work=Mobile Press-Register |date=September 7, 1980}}</ref> In the summer of 1980 she appeared as Countess Almaviva at the Glimmerglass Opera with Enrique Baquerizo as the Count.<ref>{{cite news|title=''The Marriage of Figaro'' Delights With Splendor and Vocal Finesse|work=The Post-Standard|date= July 25, 1980|page= 11|first=William D.|last=West}}</ref> In October 1980, she performed the title role of Violetta in Verdi's ''La traviata'' with the Grand Rapids Symphony at DeVos Performance Hall.<ref>{{cite news|page=1D, 2D|title=It Was a Grand Night to Remember|first=Gerald|last=Elliott|work=The Grand Rapids Press|date=October 15, 1980}}</ref>

Zannoth returned to Rochester as Rosalinde in January 1981<ref>{{cite news|title=Good Weekend Upcoming for Opera Fans|first=Stephen|last=Wigler|work=Democrat and Chronicle|date= January 22, 1981|page=27}}</ref> and following month returned to the NYCO as Micaëla.<ref>{{cite news|title=NYCO's ''Carmen'' has Trussel as splendid Don Jose|work=Tarrytown Daily News|date= February 25, 1981|page= 21}}</ref> She made her debut at the Metropolitan Opera (Met) in New York City on March 26, 1981, in the minor role of one of the whores in Will's ''Rise and Fall of the City of Mahagonny''.<ref>{{cite news|url=https://www.nytimes.com/1981/03/31/arts/opera-mahagonny-at-the-met.html?searchResultPosition=13|title=Opera: ''Mahagonny'' At The Met|work=The New York Times|date=March 31, 1981|page=C5}}</ref><ref name="Met"/> Her only role at the Met, she performed it in the 1981 production and its 1984 revival.<ref name="Met">{{cite web|url=https://archives.metopera.org/MetOperaSearch/search.jsp?q=%22Sherry%20Zannoth%22&src=browser|title=Sherry Zannoth|work=Metropolitan Opera Performance Archive|access-date=November 25, 2025}}</ref> In 1982, she performed Micaëla with Opera Omaha,<ref>{{cite news|title=Carmen: Simple, Brutal — And All Too Human|work=The Daily Nonpareil|date= February 10, 1982|page= 19}}</ref> Antonia in Offenbach's ''The Tales of Hoffmann'' with Lake George Opera,<ref>{{cite news|title=Festival Offers Dazzling Tales|first=Lee|last=Tugas|work=The Post-Star|date= July 31, 1982|page= 2}}</ref> and was the soprano soloist in Rossini's ''Petite messe solennelle'' with the Cecilia Chamber Singers at Harvard University's Sanders Theatre.<ref>{{cite news|title=Concerts: Glad Tidings|work=The Boston Globe|date= May 20, 1982|page= 87|first=Richard|last=Dyer}}</ref> She was the featured soloist for the opening of the International Symphony Orchestra's 26th season in November 1982, with conductor Brian Jackson leading the concert.<ref>{{cite news|title=Soprano Joins ISO Opener|work=The Times Herald|date= November 10, 1982|page= 2}}</ref><ref>{{cite news|title=Revitalized ISO, Opera Singer Shine|first=Fred|last=Vincent|work=The Times Herald|date= November 15, 1982|page= 3}}</ref> In December 1982, she performed with the University Musical Society as a soloist in the ''Messiah'' in a concert at the University of Michigan in which she shared the soprano solos with a young Bejun Mehta, then a boy soprano.<ref>{{cite news|title=Hallelujah! The Annual ''Messiah'' Performances|first=Edna|last=Kilgore|work=The Ann Arbor News|date= November 28, 1982|page= 65}}</ref> She ended the year giving a recital at The Phillips Collection art museum in Washington D.C. with pianist John Wisnunt. ''The Washington Post'' review of her interpretation of Mozart's "Misera, dove son" and hugo Wolf's lieder was described as "lively and dramatic", with praise for her ability to give "space and tension to the phrasing".<ref>{{cite news |last=Fein |first=Ron |date=December 20, 1982 |title=Sherry Zannoth |newspaper=The Washington Post}}</ref>

In 1983, Zannoth portrayed Amelia in Verdi's ''Un ballo in maschera'' with the Cleveland Opera and performed leading roles at the Teatro de Cristóbal Colón, Colombia's national theatre.<ref name="Amelia">{{cite news|title=Verdi Festival Continues|work=The Akron Beacon Journal|date= January 19, 1983|page= 17}}</ref> In January 1984, she returned to the Metropolitan Opera for further performances of ''Mahagonny'', one of which was recorded for the Metropolitan Opera radio broadcasts that aired nationally.<ref>{{cite news|title=Weill's ''Mahogany'' is Saturday Opera|work=The Billings Gazette|date= January 13, 1984|page= 53}}</ref> Later that year she performed as Mimì with the Hollybush Opera Theatre of New Jersey with Michael Sylvester as her Rodolfo.<ref>{{cite news|title=A Celebration of Fine Arts|first=Malinda|last=Reinke|work=The Millville Daily|date= March 2, 1984|page= 4}}</ref> In 1985, she returned to Rochester to perform Countess Almaviva with the OTR,<ref>{{cite news|title=Rochester's Second ''Marriage'' Overcomes Hardships of Theater|work=Democrat and Chronicle|date= June 3, 1985|page= 16}}</ref> and portrayed Violetta in a Brooklyn staging of ''La Traviata'' with tenor Edgardo Sensi as Alfredo.<ref>{{cite news |last=Page |first=Tim |date=February 22, 1985 |title=Opera on a 'Postcard' from Argento |work=The New York Times}}</ref> In August 1985, she sang the role of Rosina in a concert version of Eossini's ''The Barber of Seville'' at the Fair Lawn Music Festival in New Jersey.<ref>{{cite news|title=An Evening of Opera will be presented at Memorial Park|work=The Shopper|date= August 24, 1985|page= 13}}</ref> The following October she made her debut at the Wexford Festival Opera in the lead role of Jenny in ''Rise and Fall of the City of Mahagonny''.<ref>{{cite news|title=More a Cabaret than an Opera|first=Mary Mac|last= Goris|work=Irish Independent|date= October 26, 1985|page= 2}}</ref> ''The Daily Telegraph'' stated that "Zannoth seemed too phlegmatic, too anonymous to convey Jenny's peculiar allure, and her effective but shrill voice tended to jar as the evening progressed".<ref>{{cite news|title=Not Quite a Festival|work=The Daily Telegraph|date= November 2, 1985|page= 11}}</ref> ''The Guardian'' review was much more positive, stating she sang with "thrilling panache".<ref>{{cite news|title=A Little Shoestring Miracle|work=The Guardian|date= November 2, 1985|page= 11}}</ref>

Zannoth moved to West Germany and was active in opera houses there in the 1980s and 1990s.<ref name="MWA"/> She was a resident principal singer with Theater Bremen from 1984 through 1994.<ref name="TB">{{cite news|url=https://onlinemerker.com/in-memoriam-geburtstage-im-februar-2021/|title=IN MEMORIAM-GEBURTSTAGE IM FEBRUAR 2021; Sherry ZANNOTH: 75. Geburtstag|work=Online Merker|date=January 30, 2021}}</ref> In 1987, she portrayed Verdi's Violetta to Walter MacNeil's Alfredo with the Opera Company of Mid-Michigan (OCMM).<ref>{{cite news|title=MacNeil Finally Opts for Opera– And Likes It|work=Lansing State Journal|date= April 9, 1987|pages= 2F, 10F}}</ref> She returned to the OCMM the following year in the title role of Puccini's ''Tosca''.<ref>{{cite news|title=A Night at the Opera|work=Lansing State Journal|date= April 21, 1988|page= 1F|first=Ken|last=Glickman}}</ref> In 1989, she sang the role of Cio-Cio-San in ''Madama Butterfly'' in Hong Kong, and repeated that role with the Oakland Opera in California in 1990.<ref>{{cite news|title=Butterfly Takes Wing|work=Oakland Tribune|date= February 7, 1991|page= 22}}</ref> After this she toured Europe, Asia, and the Middle East with a group called Ambassadors of Opera,<ref>{{cite news|title=An Interlude with Sherry|work=The Times Herald|date= June 4, 1995|page= 23}}</ref> and performed roles in productions of ''Ariadne auf Naxos'' by R. Strauss, Puccini's ''Manon Lescaut'', and Verdi's ''Falstaff''.<ref>{{cite news|title=Aria of Expertise|first=Hermann|last=Trotter|work=The Buffalo News|date= July 28, 1995|page= 49}}</ref> In 1994 and 1995 she was the soprano soloist in the Newtown Chamber Orchestra's performances of ''Messiah''.<ref>{{cite news|title=Audience will be Chorus in Orchestra's Messiah|work=The Philadelphia Inquirer|date= December 8, 1994|page=BC10}}</ref><ref>{{cite news|title=Handel's ''Messiah''|work=The Philadelphia Inquirer|date= December 8, 1995|page= 135}}</ref>

In 1995, Zannoth was the soprano soloist in Verdi's Requiem with the Long Island Masterworks Chorus and the Bohuslav Martinů Philharmonic Orchestra at Carnegie Hall,<ref>{{cite news|url=https://www.nytimes.com/1995/05/16/arts/in-performance-music-628195.html?searchResultPosition=10|title=In Performance|author=Allan Kozinn|date=May 16, 1995|page=C14|work=The New York Times}}</ref> and in 1995, she gave a recital at the municipal building of Lower Makefield Township, Pennsylvania.<ref>{{cite news|title=In Concert in Lower Makefield|work=The Trenton Times|date= September 15, 1995|page=F22}}</ref> In 1996, she performed the role of Lady Macbeth in Verdi's ''Macbeth'' with the Des Moines Metro Opera, a company premiere conducted and staged by Robert L. Larsen. The cast included Kimm Julian as Macbeth and Matthew Lau as Banquo.<ref>{{cite web |title=Macbeth (1996) |url=https://desmoinesmetroopera.org/macbeth1996/ |website=Des Moines Metro Opera |access-date=July 30, 2025}}</ref> That same year she was the soprano soloist in the Verdi Requiem with the Cedar Rapids Symphony Orchestra.<ref>{{cite news|title=Requiem Soloist Has C. R. Ties|work=The Cedar Rapids Gazette|date= March 22, 1996|page= 42}}</ref> In 1997, she portrayed Donna Anna to Gary Martin's Don Giovanni at the New Jersey State Opera.<ref>{{cite news|title=Solos Shine, But Opera Lacks Balance|first=Peter|last=Spencer|work=The Star-Ledger|date= April 28, 1997|page= 27}}</ref> Other operas she performed in during her career included Verdi's ''Aida'', ''Elektra'' by R. Strauss, Wagner's ''Parsifal'', and Britten's ''Peter Grimes''.<ref name="MWA"/> One of her last significant appearances on the opera stage was as Aida with the Mississippi Opera in 2003 with Michael Hayes as Radamès.<ref>{{cite news|title=Mississippi Opera Delivers Strong Performance|first=Genifer|last=Freeman|work=Clarion-Ledger|date= February 22, 2003|page= 20}}</ref> In 2006, she gave a recital of lieder by Robert Schumann at the First Unitarian Society of Westchester.<ref>{{cite news|title=Hastings-On-Hudson|work=The Journal News|date= January 20, 2006|page= 86}}</ref> In 2009, she performed a cabaret tribute concert to Fanny Brice and Molly Picon at the Mahwah Public Library in New Jersey.<ref>{{cite news|title=Cabaret|work=The Record|date= February 27, 2009|page= G10}}</ref>

== Educator, sacred vocalist, and later life== By the 1972–1973 academic year, Zannoth had joined the voice faculty of Ithaca College where she gave a faculty recital with pianist Joseph Tague in March 1973.<ref>{{cite news|title=Two Concerts Scheduled|work=The Ithaca Journal|date= March 24, 1973|page= 48}}</ref><ref>{{cite news|title=Coming Events in Music|work=The Ithaca Journal|date=March 24, 1973|page= 49}}</ref> She performed in a special 1974 concert organized by cello faculty member Einar Holm at Ithaca College honoring composer Pablo Casals<ref>{{cite news|title=Cellist Planning Tribute to Cassals|work=The Ithaca Journal|date= February 23, 1974|page= 22}}</ref> and gave another recital at the school that same year.<ref>{{cite news|title=Coming Events in Music|work=The Ithaca Journal|date= March 23, 1974|page= 25}}</ref> She taught voice at Memphis State University during the 1980s,<ref>{{cite news |last=Jennings |first=Robert |date=February 27, 1980 |title=Workshop To Lure 14 Symphonies |work=The Commercial Appeal |page=B38}}</ref> and later taught voice out of a private studio in New York.<ref name="TB"/>

By 1994, Zannoth was living in Yardley, Pennsylvania,<ref>{{cite news|title=Community Will Be the Chorus in Orchestra's ''Messiah'' Program|work=The Philadelphia Inquirer|date= December 8, 1994|page=MC15|first=Valerie|last=Reed}}</ref> having just returned to the United States from living in Germany.<ref name="TB"/> She later relocated to Manhattan where she lived in an apartment in Tudor City.<ref name="MWA"/> When not performing she worked in New York City as the assistant to the director of the Mystery Writers of America.<ref name="MWA">{{cite news|url=https://www.nydailynews.com/2001/02/26/singing-to-the-masses-soprano-applies-her-talents-religiously/|title=Singing to the Masses: Soprano Applies Her Talents Religiously|first=Bill|last=Bell|work=New York Daily News|date= February 26, 2001|page= 22}}</ref> For several years she was part of a paid professional quartet that performed for Friday night and Saturday services at the Hebrew Tabernacle of Washington Heights.<ref name="MWA"/> She was concurrently a long-time soloist and section leader at Rutgers Presbyterian Church in New York City. A 2001 profile in the ''New York Daily News'' highlighted her dedication to sacred music and community service, noting that despite her operatic experience at the Met and City Opera, she remained committed to enriching the church's music ministry.<ref>{{cite news |title=Singing to the Masses: Soprano Applies Her Talents Religiously |url=https://www.nydailynews.com/2001-02-26-news/article-1.91747379.html |work=New York Daily News |date=February 26, 2001 |access-date=July 30, 2025}}</ref>

Zannoth died on November 20, 2012, aged 66, in New York City.<ref name="nyt-obit">{{cite news |title=Paid Notice: Deaths ZANNOTH, SHERRY |url=https://archive.nytimes.com/query.nytimes.com/gst/fullpage-9B00E2D9113AF934A15752C1A9649D8B63.html|work=The New York Times |date=November 27, 2012 |access-date=July 30, 2025}}</ref>

== References == {{reflist}}

== External links == * [https://desmoinesmetroopera.org/macbeth1996/ Macbeth (1996) – Des Moines Metro Opera] * [https://www.youtube.com/watch?v=EmbCSuW89c4 Sherry Zannoth as Tosca at Theater Bremen] at YouTube * [https://www.youtube.com/watch?v=61KxO1v_oXg Sherry Zannoth sing "Libera Me" from Verdi Requiem] at YouTube * {{cite web|url=https://richardslade.substack.com/p/our-sherry|title= Our Sherry|first=Richard|last=Slade|date=November 20, 2024|work=Substack}} {{authority control}} {{DEFAULTSORT:Zannoth, Sherry}} Category:1946 births Category:2012 deaths Category:20th-century American women opera singers Category:American music educators Category:American operatic sopranos Category:American women music educators Category:Ithaca College faculty Category:Oberlin Conservatory of Music alumni Category:Eastman School of Music alumni Category:Voice teachers Category:People from Detroit Category:Singers from New York City Category:University of Memphis faculty