Suzanne is a professional, award-winning vocalist. She obtained a Bachelor of Fine Arts Degree with an emphasis in Voice and Acting from The Boston Conservatory. She is also a proud graduate of LaGuardia High School of Music and Art and the Performing Arts in Manhattan. Suzanne studied voice and performed in Italy at the Spoleto Vocal Arts Festival, was a soloist with the Boston Pops Orchestra, toured the country with the national tour of Ragtime and Cameron Machintosh's Oliver! She has been nominated for a MAC (Manhattan Association of Cabarets and Clubs) Award for Best Female Cabaret Debut and continues to perform in a variety of musical venues in Manhattan.
You can also hear Suzanne;s voice on this recording by DENNIS BELL: Musique Pour La Danse Moderne (Music for Modern Dance). Also on sale at cdbaby.com
"Suzanne Fiore, she is simply divine and we all knew we were lucky to witness her performances. This girl is a STAR, truly."
"Fiore has one spectacular set of pipes."
"This interesting neophyte with the big voice shows real promise."
"She will make her mark and move up the ladder."
"She sings with enough power to fill Yankee Stadium."
— Backstage John Hoglund
"Suzanne Fiore displays a pretty voice and a genuine dramatic sense."
— Theatermania.com Barbara & Scott Siegel
"Suzanne is STUNNING!"
"Suzanne Fiore was an absolute sensation"
"She really is the next big thing, so sweet and that voice, wow! The talent is out there. SUZANNE FIORE, remember that name kids!"
Suzanne Fiore, a recent graduate of The Boston Conservatory with a BFA in voice and acting, snagged a MAC Award nomination last year for "Best Female Debut" after paying her dues touring in musicals like Ragtime and Oliver. Based on her new show, Suzanne Fiore: Live at The Metropolitan Room, it's clear why she was nominated in 2006, as well as why she'll undoubtedly be nominated again and again in years to come with multiple wins inevitable. She's that good! Deceptively lovely with a classic aquiline nose, high cheekbones and perfect teeth, Fiore tends to hide her beauty, as well as her voice, under a bushel. Dressed in a simple black cocktail dress with a plunging neckline, she opens her set with Amos Lee's Black River, a haunting ballad Fiore whispers as much as sings, making it difficult to determine whether she's a folk singer, a jazz stylist or a Broadway belter. That question is laid to rest in her second selection, Rodgers & Hart's The Lady is a Tramp, in which all three vocal types make a dazzling appearance. Starting off cautiously in an inspired arrangement by her musical director and accompanist Ray Fellman, Fiore builds a sassy, samba tempo into a full fledged, brassy onslaught that recalls a young Liza Minnelli in her prime.
Fiore's chest voice is extraordinary, as is her phrasing and control, and, amazingly, she sings the majority of her show in her chest register. An eclectic mix of Joni Mitchell, Mary Chapin Carpenter, Peter Gabriel, Amanda McBroom and Elvis Costello allows her to show off not only her sublime instrument, but also her delightful stage presence that belies her inexperience in this genre. She's comfortable in front of an audience and makes eye contact easily and with true interest. Vocally, she possesses equal parts k.d. lang and Eden Espinosa though her sound is distinctively her own.
Backed by the excellent Fellman, Johnny Pisano (bass) and Steve Singer (drums) in arrangements both spare and elegant, Fiore's talent and confidence are impressive. These were manifested best in a devastating reading of Irving Berlin's I Got Lost in His Arms that was as astonishing for it's power as it was for Fiore's genuine commitment to the lyric. For a minute there, I felt like I was watching a young Nancy LaMott which is the ultimate complement I can ever give anyone.
Suzanne Fiore: Live at The Metropolitan Room has one remaining show on Thursday, March 1st at 7:00 pm. (34 West 22nd Street; 212-206-0440)
January 29, 2007
UNDER THE RADAR
And now for a singer who chooses to make her album debut with a live recording that finds a vocal and enthusiastic audience cheering her on ....
LIVE AT THE METROPOLITAN ROOM
The good sound and good vibes of the popular West 22nd Street music magnet also provides the location and title for Suzanne Fiore's Live at the Metropolitan Room. She recently finished a fine return engagement to the spot with an eclectic set, including a few choices from the album. (Her next project is giving birth.) Suzanne, one of three nominees for Female Debut for the 2006 MAC Awards, is a singer who continues to grow. Her first CD shows her in good voice and sounding comfortable with an audience and seeming buoyed by their reception.
She presents a varied program of songs: pop, folk and standards. Her "Night and Day" is done in a medley with "Midnight Sun," a combination I don't think is a natural or comfortable fit beyond an implied connection of the song titles. She sings them both with a floating, clean sound and an increasingly insinuating approach that is accented by the mood-setting lost-in-romantic-reverie arrangement - created by her director, popular New York singer Brandon Cutrell and their shared pianist Ray Fellman, who did almost all the other arrangements alone. The track also features seductive percussion work by Alexander Rea, with Matt Scharfglass strong on bass. The trio sounds fine throughout the album, although the mix does not always bring them out as much as distinctly as might be desired.
The sense of singing for an audience is very much felt while listening to this CD. There's some casual patter, though generally it's of little consequence or import; it's mostly gratitude for prolonged applause or the musicians or a laughing declaration, "I need a drink!" after a taxing number. She says "so much has happened" to her between gigs but doesn't explain beyond talking about getting a new apartment. That, at least, fits as it allows her to talk about her sister staying over more so she can sing James Taylor's "Something in the Way She Moves" about her, and we're clued in to the specific connection. It's a nice change to have a different slant on a song that would generally be used to comment on a romantic relationship. When romance does come to the table, it's most successfully embraced by a classic show tune: a satisfyingly slow, hushed and awestruck "I Got Lost in His Arms" from Annie Get Your Gun that is engaging from beginning to end.
Suzanne's very quiet and intimate singing can feel like storytelling and holding on to a precious moment; perhaps the audience presence is helpful there. Her version of Amanda McBroom's "Dreaming" misses some drama because she generally projects a youthful, confident persona that works against the troubled, fragile character the lyric presents. But there's no denying Suzanne's musicality and lovely sound.
For me, Suzanne's belt voice is her greatest and most consistent asset. When a song builds and kicks into gear with vocal strength, that belt gets my ear and interest. The often-used "in between" range is far less aurally interesting, at least in the particular performance on this CD. Her "The Lady is a Tramp" is a winner. The Rodgers and Hart standard (the opening number) starts off unexpectedly and refreshingly: an out-of-tempo but focused reading of the lines that are neither the first words of the verse nor first chorus - and the ever-surprising arrangement changes and grows into a vibrant, big smashing wailing vocal ending.
This Live at the Metropolitan Room is alive with good feelings and a singer on her way.