Natalie Mann


The Neo-Salon Movement

Growing up on a farm with a large family, we entertained ourselves through performances, igniting my passion for intimate, creative gatherings. The neo-salon movement builds on this tradition, offering a space where people come together to share music, ideas, and meaningful connections. For you, this means an opportunity to escape the superficiality of social media and form deep, lasting relationships. Hosting or participating in a salon can enrich your life by fostering a sense of community, encouraging artistic expression, and creating memorable experiences. Join me in the neo-salon movement to transform everyday moments into magical, authentic celebrations of our shared humanity.

Rendezvous in the Salon

Natalie’s latest album invites you to experience a collection of performances that explore the rich and vibrant world of American art song. As an artist who is deeply invested in the expressive power of music, I am excited to demonstrate my passion for this genre. I am equally thrilled to record worldpremieres of remarkable and diverse cycles and to draw on the salon tradition of sharing intimate music with a roomful of friends and colleagues, which was a staple during the apex of art song in Europe.

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Purchase Rendezvous in the Salon and Experience on iTunes and Amazon, or stream on Spotify

Video Performances


Reviews for "experience"

“… a gleaming, shimmering sound that seems to emerge with little or no effort, floating on a seemingly inexhaustible stream of breath. One must appreciate the flawless legato line with which she sings even the most difficult of these songs, and the easy warmth with which she rides the highest climaxes.”

– Gregory Berg reviewing the CD ‘Experience’ for the Journal of Singing.

“Natalie Mann’s high notes soar with no tension, and her full and balanced tone from top to bottom dances with Jeffrey Panko, whose sensitive clarity creates a musical organism between them throughout the concert.”


– The Opera Insider

“She has a warm and rich tone less common in lyric sopranos, and both Strauss’s writing and the German language embrace and support her technique gloriously.”


– The Opera Insider

“Her soprano soared with fullness of tone through the climaxes; no high note seemed to tax her. Dramatically, she turned into the victimized creature Puccini intended her to be.”


– The Herald-Times

“…Natalie Mann, (as Sarah), whose ingratiating vibrato makes her character unmistakably seductive. Mann and Humes sing a love duet that soars…”

– Opera News

“Ms. Mann’s voice soared over the other sisters in timbre and character every time she sang, conveying a wealth of emotions ranging from maternal concern for the other nuns to grief, passion and celestial bliss in the latter half of the opera”


– Coril Prochnow

“The show was ruled, however, by soprano Natalie Mann, who sang and played the title character, Hanna Glawari, brilliantly. From her glamorous first entrance, she wears the role elegantly and with distinctive style. Mann’s voice and technique are superb top to bottom, and her acting smooth and unruffled, embodying the character right down to the aristocratic accent that was consistent in both sung and spoken lines.”



“Natalie Mann’s heartfelt performance as Amelia (Un Ballo in Maschera) was a moment of beauty.”


– Lauri’s List

“Her performance alone is well worth the price of the ticket…”


– Valley Roadrunner

“The leads, Macbeth and his Lady, were played by Michael Blinco and Natalie Mann, who are both so secure in their parts, and so good together, that they could take these roles tomorrow to almost any stage.”


– Lauri’s List

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