Hailed as possessing “such a radiant voice, effortless even in the highest register with breathtaking coloratura, the likes of which have not been heard for a long time” (Berliner Umschau), Liv Redpath is a leading soprano leggero who is quickly establishing herself in diverse operatic and symphonic repertoire around the world. The 2023-24 season is filled with company debuts including the Royal Opera House in the title role of Katie Mitchell’s revelatory production of Lucia di Lammermoor conducted by Giacomo Sagripanti; Metropolitan Opera as Oscar in the celebrated David Alden production of Un Ballo in Maschera led by Carlo Rizzi; Berliner Philharmoniker as Die Seele in Schoenberg’s Die Jakobsleiter with chief conductor Kirill Petrenko; Orchestre Philharmonique de Radio France for Barber’s Knoxville: Summer of 1915 under the baton of Barbara Hannigan; The English Concert singing Drusilla in Monteverdi’s L’incoronazione di Poppea at the Auditorio Nacional De Musica (Madrid) and Palau de la Música (Barcelona) led by Harry Bicket; and the Atlanta Opera where Ms. Redpath reprises Tytania in Britten’s A Midsummer Night’s Dream under the direction of Louis Lohraseb. She also returns to the Metropolitan Opera to sing Pamina in the celebrated Julie Taymor production of The Magic Flute and the Santa Fe Opera for performances of Zerlina in Don Giovanni where she is reunited with Harry Bicket and Sophie in Der Rosenkavalier conducted by Karina Canellakis. Other concert engagements include Mahler’s Symphony #4 and a world-premiere piece by Betsy Jolas with The Cleveland Orchestra and Daniel Harding; Bach’s Christmas Oratorio with the Orchestra of St. Luke’s at Carnegie Hall with Bernard Labadie; the Brentano Lieder of Richard Strauss with Federico Cortese and the Harvard Radcliffe Orchestra, an appearance with the Sag Harbor Song Festival in New York, and her Wigmore Hall debut with pianist Harry Rylance.
Last season, Mr. Redpath sang the title role in the new Simon Stone production of Lucia di Lammermoor at Los Angeles Opera with Lina González-Granados on the podium. She made debuts at Komische Oper Berlin as Ophélie in a new production of Hamlet by Nadja Loschky with Marie Jacquot and Erina Yashima sharing conducting duties; the Glyndebourne Festival where she essayed the role of Tytania in Britten’s A Midsummer Night’s Dream in director Peter Hall’s historic production with Dalia Staseveska conducting the London Philharmonic Orchestra; and La Monnaie/De Munt in Brussels where she returned to the role of Sophie in Der Rosenkavalier working with director Damiano Michieletto and conductor Alain Altinoglu. Concert appearances included Handel’s Messiah with National Symphony Orchestra and Fabio Biondi; Nielsen’s Symphony No. 3 with The Cleveland Orchestra and Alan Gilbert; Beethoven’s Symphony No. 9 with the Boston Philharmonic Orchestra; Nielsen’s Hymnus Amoris and Symphony No. 3 with Danish National Symphony Orchestra and Fabio Luisi; and Beethoven’s Missa Solemnis at Aix en Provence with Balthazar Neumann Ensemble and Choir led by Thomas Hengelbrock. Ms. Redpath joined the Chamber Ensemble for the Orchestra of St. Luke’s to sing music of Fanny & Felix Mendelssohn with guest pianist David Fung and gave a recital at Oscarshall Palace in Oslo for Queen Sonja and invited guests.
During the 2021-22 season, Ms. Redpath returned to the Deutsche Oper Berlin to make her debut in the title role of Lucia di Lammermoor and the Metropolitan Opera where she covered the title role in Aucoin’s Eurydice conducted by Yannick Nézet-Séguin with staging by Mary Zimmerman. She made her Bayerische Staatsoper house debut singing the role of Sophie in Der Rosenkavalier under the baton of Vladimir Jurowski in a production by Barrie Kosky. Ms. Redpath stepped into the role of Zenobia in Handel’s Radamisto to debut with Philarmonia Baroque Orchestra in a new staging by Christophe Gayral under the baton of Richard Egarr. Her concert performances included Handel’s Saul at The Edinburgh Festival with John Butt leading The English Concert; a debut at Carnegie Hall’s Weill Recital Hall to sing a new arrangement of arias from Aucoin’s Eurydice with the MET Orchestra Chamber Ensemble conducted by Maestro Nézet-Séguin; an all-Schubert program of chamber ensembles and songs with members of the Orchestra of St. Luke’s with guest pianist Pedja Mužijević; and a chamber music gala concert in honor of Martin Chalifour’s 25th anniversary organized by the Los Angeles Philharmonic; and a Mozart Requiem with the Long Beach Symphony.
Highlights of previous seasons include Ms. Redpath singing “Das himmlische Leben” from Mahler’s Symphony No. 4 with Gustavo Dudamel and the Los Angeles Philharmonic at the Hollywood Bowl for their presentation of Icons on Inspiration with introduction by Julie Andrews; making debuts with the Radio Filharmonisch Orkest in a program comprised of the Saint-Saëns Oratorio de Noël and Schubert Mass in G under Vasily Petrenko as well as the Bregenzer Festspiele as Woglinde in Das Rheingold with the Wiener Symphoniker led by Andrés Orozco-Estrada and directed by Johannes Erath; a return to the Edinburgh International Festival to sing Naiad and cover Zerbinetta in concert performances of Ariadne auf Naxos with Lothar Koenigs on the podium; making her role and house debut at Deutsche Oper Berlin singing Marguerite de Valois in David Alden’s production of Les Huguenots under the baton of Alexander Vedernikov; covering the role of Sophie in Robert Carsen’s production of Der Rosenkavalier at the Metropolitan Opera conducted by Sir Simon Rattle; singing the role of Crobyle in concerts of Thaïs with Toronto Symphony Orchestra conducted by Sir Andrew Davis and recorded for release on the Chandos label subsequently winning a 2021 Juno Award for Classical Album of the Year.
Ms. Redpath has been engaged by The Santa Fe Opera, Opera Theatre of Saint Louis, Seattle Symphony, Cincinnati Opera, Aspen Music Festival, Scottish Opera, New York Festival of Song, Wolf Trap Opera, Pacific Symphony, Tesserae Baroque, Saint Paul Chamber Orchestra, and Los Angeles Master Chorale. Conductors with whom she has collaborated include William Christie, James Levine, James Conlon, Emmanuel Villaume, Christophe Rousset, James Gaffigan, and Barbara Hannigan, as well as stage directors Tim Albery, Mark Lamos, James Robinson, Francesca Zambello, Paul Curran, Ed Berkley, John Neumeier, Omer Ben Seadia, Louisa Muller, and Thaddeus Strassberger. Her wide-ranging operatic repertoire includes Le nozze di Figaro, Hänsel und Gretel, Ariadne auf Naxos, Béatrice et Bénédict, Orphée et Eurydice, Dido and Aeneas, Cendrillon, Die Zauberflöte, Lakmé, Les contes d’Hoffmann, Die Fledermaus, Les mamelles de Tirésias, The Golden Cockerel, A Midsummer Night’s Dream, Candide, and L’enfant et les sortilèges. Her orchestral and chamber assignments have included Messiah (Handel), Choral Fantasy (Beethoven), “Lord Nelson” Mass (Haydn), Mass in C major (Beethoven), Songs of Ascent (Kirchner), Requiem (Mozart), La resurrezione (Handel), String Quartet #2 (Schoenberg), Philomel (Babbitt), Gloria (Poulenc), and Hodie (Vaughan-Williams).
Ms. Redpath was one of twelve finalists worldwide at the 2019 Operalia competition and sang under the baton of Plácido Domingo in Prague for the final round concert. She received second prize, as well as the special French opera prize and audience favorite, at the 56th Tenor Viñas International Contest at the Gran Teatre del Liceu in Barcelona and subsequently sang the winners concert held at Teatro Real in Madrid.
A graduate of Harvard University and The Juilliard School, Ms. Redpath is a former Domingo-Colburn-Stein Young Artist with the Los Angeles Opera.
