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Dutch-American soprano Katharine Dain maintains an active and growing performance calendar in Europe and North America. After taking the top prize in the 2017 Clermont-Ferrand International Vocal Competition, Katharine made her role debut as Konstanze in a 2018 production (touring to the opera houses of Clermont-Ferrand, Avignon, Rouen, Massy, and Reims) of Mozart Die Entführung aus dem Serail to great acclaim: “coloratura of ideal precision and phrasing like a dream, in an unending crescendo of inspiration … her tragic arias were the highlight of the evening” (Opera Online). Previous opera credits include Donna Anna, Fiordiligi, Lucia di Lammermoor, Marschallin, Cavalli’s Calisto and Hypsipile, and numerous roles in the early and modern repertoire. Her debut with Amsterdam’s Dutch National Opera was in Claude Vivier Kopernikus (Coloratura Soprano), a production of its Talent Development Programme; soon thereafter she appeared in Paris (Philharmonie), Brussels (La Monnaie), and the Aldeburgh Festival in ENOA’s widely acclaimed original production Be With Me Now (co-mounted by the Festival Aix-en-Provence, the Dutch National Opera, and six other European presenters), in which her rendition of Anne Trulove’s aria from Stravinsky’s Rake’s Progress was praised by Arts Desk as “a better performance than any I’ve heard in the opera house.”

Dutch-American soprano Katharine Dain maintains an active and growing performance calendar in Europe and North America. After taking the top prize in the 2017 Clermont-Ferrand International Vocal Competition, Katharine made her role debut as Konstanze in a 2018 production (touring to the opera houses of Clermont-Ferrand, Avignon, Rouen, Massy, and Reims) of Mozart Die Entführung aus dem Serail to great acclaim: “coloratura of ideal precision and phrasing like a dream, in an unending crescendo of inspiration … her tragic arias were the highlight of the evening” (Opera Online). Previous opera credits include Donna Anna, Fiordiligi, Lucia di Lammermoor, Marschallin, Cavalli’s Calisto and Hypsipile, and numerous roles in the early and modern repertoire. Her debut with Amsterdam’s Dutch National Opera was in Claude Vivier Kopernikus (Coloratura Soprano), a production of its Talent Development Programme; soon thereafter she appeared in Paris (Philharmonie), Brussels (La Monnaie), and the Aldeburgh Festival in ENOA’s widely acclaimed original production Be With Me Now (co-mounted by the Festival Aix-en-Provence, the Dutch National Opera, and six other European presenters), in which her rendition of Anne Trulove’s aria from Stravinsky’s Rake’s Progress was praised by Arts Desk as “a better performance than any I’ve heard in the opera house.”

Mozart has unquestionably found in the beautiful American soprano Katharine Dain an ideal Konstanze. Fluent high range, expressive middle, virtuosity without excess, dramatic intelligence: her “Martern aller Arten” promises us a splendid heroine.

FORUM OPERA

Mozart has unquestionably found in the beautiful American soprano Katharine Dain an ideal Konstanze. Fluent high range, expressive middle, virtuosity without excess, dramatic intelligence: her “Martern aller Arten” promises us a splendid heroine.

FORUM OPERA

Katharine is becoming known for unusual musical imagination, intelligence, and fearlessness, qualities which serve well in chamber music and orchestral settings, experimental multidisciplinary and theatrical projects, and–notably in recent seasons–jump-ins for high-profile performances of obscure repertoire. She stepped out as soprano soloist in Luigi Nono’s oratorio Il Canto Sospeso at the Holland Festival under Ingo Metzmacher, which led to an invitation from the Teatro Comunale di Bologna to perform the same piece under Roberto Abbado. She has also been called in at the last minute for performances at Ireland’s West Cork Chamber Music Festival (“singing as though the music had been written just for her,” said the Irish Times), a solo recital of Strauss, Marx, and Korngold lieder in the Concertgebouw Kleine Zaal (called “a miracle” by Place de l’Opera), Carmina Burana at the Concertgebouw’s Robeco Summer Nights series, and for the world premiere of an oratorio by Dutch composer Jan van de Putte with Asko|Schönberg and Cappella Amsterdam under Reinbert de Leeuw–a performance that was broadcast live on Dutch Radio 4 from the Concertgebouw’s Zaterdagmatinee series and later released commercially on Etcetera Records.

A passionate promoter of chamber music and recital repertoire, she has co-founded several chamber groups including, most recently, Damask Vocal Quartet.

Katharine is becoming known for unusual musical imagination, intelligence, and fearlessness, qualities which serve well in chamber music and orchestral settings, experimental multidisciplinary and theatrical projects, and–notably in recent seasons–jump-ins for high-profile performances of obscure repertoire. She stepped out as soprano soloist in Luigi Nono’s oratorio Il Canto Sospeso at the Holland Festival under Ingo Metzmacher, which led to an invitation from the Teatro Comunale di Bologna to perform the same piece under Roberto Abbado. She has also been called in at the last minute for performances at Ireland’s West Cork Chamber Music Festival (“singing as though the music had been written just for her,” said the Irish Times), a solo recital of Strauss, Marx, and Korngold lieder in the Concertgebouw Kleine Zaal (called “a miracle” by Place de l’Opera), Carmina Burana at the Concertgebouw’s Robeco Summer Nights series, and for the world premiere of an oratorio by Dutch composer Jan van de Putte with Asko|Schönberg and Cappella Amsterdam under Reinbert de Leeuw–a performance that was broadcast live on Dutch Radio 4 from the Concertgebouw’s Zaterdagmatinee series and later released commercially on Etcetera Records.

A passionate promoter of chamber music and recital repertoire, she has co-founded several chamber groups including, most recently, Damask Vocal Quartet.

news

  • Praise for Konstanze in Massy

    I was very happy to read the following review on Olyrix after our final Entführung of the season in Massy: “Également lauréate du Concours international de chant de Clermont-Ferrand 2017, Katharine Dain est la révélation de cette soirée. Sa voix ample et soyeuse, ses phrasés souples et son timbre chaleureux se révèlent dès son premier air (“Ach ich liebte, war so glücklich“, acte I). Son interprétation subtile semble donner envie à l’Orchestre de l’Opéra de Massy (et au chef Dominique Rouits) de se surpasser.
  • Win at the Armel Opera Competition

    I enjoyed a recent success as a laureate of the Armel Opera Competition in Paris. Organized by the Armel Festival in Budapest, the competition grants roles in a production of Mozart’s Don Giovanni that will receive its premiere in 2019 in Cuenca, Ecuador and then travel to Budapest, where it will be broadcast live on ARTE Concert. I was chosen as Donna Anna, a role I have sung in concert and will be so happy to revisit in a full […]
  • Positive reception in Rouen

    Our Rouen outing for Mozart’s Enlèvement (as I am now beginning to call it–Entführung, Abduction) has been widely praised, and I got some especially nice mentions this time. “La soprano américaine  Katharine Dain ne déçoit pas les espérances que son « Marten aller Arten » au concours de Clermont-Ferrand avait fait naître. Avec son chant aérien aux aigus faciles et ses vocalises précises, elle remplit toutes les exigences vocales du rôle.” (“The American soprano Katharine Dain does not disappoint the hopes raised by her […]
  • Cunégonde

    I’m delighted to announce that I will sing Cunégonde in Leonard Bernstein’s Candide in Banff (British Columbia, Canada) in July 2018. This production and other performances are presented as part of an intensive residency titled Opera in the 21st Century at the Banff Centre for the Arts and Creativity, led by members of Against the Grain Theatre. More details forthcoming.

blog

  • I am he who kisses his comrade
    May 29, 2018
    Today I want to write about love. It’s 5:30 a.m. in Los Angeles, and I feel overwhelmingly, distractingly full of love. My computer clock says 14:30 Paris time. 36 hours ago I had an emotional final show, then said a lot of hard goodbyes, spent 11 hours on a plane (most of the time spent trying to memorize songs about love), landed last night, slept only a few hours, in my insomnia read the first...
  • Where's the push?
    March 24, 2018
    "Where’s the push?" asks Victor the choreographer, repeatedly, in our short session on stage in Rouen today to address Konstanze’s physicality in the first aria. We’re trying to refine her vocabulary of movement, which means considering character, motivation, confidence, timing. We look for externalizations of her independence, her exhibitionism, her particular way of getting overwhelmed, her way of trying to pull herself together, her diva mannerisms. She is open and proud, so her chest...
  • Live broadcast of Schoenberg 2nd string quartet
    January 30, 2018
    My performance in Amsterdam’s first String Quartet Biennale festival of Schoenberg’s second string quartet with Cuarteto Quiroga (on a concert also featuring Cappella Amsterdam in a world premiere of José Maria Sánchez-Verdu) will be broadcast live on NPO Radio 4. On February 1st at 8:15 pm Netherlands time, tune in to hear a live stream of the concert. Update: if you missed it, you can listen back here. The Schoenberg starts at 1:38:30. Singing on the...

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