American soprano Katharine Dain maintains an active and growing performance calendar in Europe and North America. Highlights of recent seasons include a solo recital of Strauss, Marx, and Korngold lieder in Amsterdam’s Concertgebouw; her debuts in Paris (Philharmonie), Brussels (La Monnaie), and the Aldeburgh Festival in ENOA’s Be With Me Now (a co-production of Festival Aix-en-Provence, the Dutch National Opera, and six other European presenters); two seasons at Ireland’s West Cork Chamber Music Festival; and her Italian debut with the Teatro Comunale di Bologna under the baton of Roberto Abbado.

American soprano Katharine Dain maintains an active and growing performance calendar in Europe and North America. Highlights of recent seasons include a solo recital of Strauss, Marx, and Korngold lieder in Amsterdam’s Concertgebouw; her debuts in Paris (Philharmonie), Brussels (La Monnaie), and the Aldeburgh Festival in ENOA’s Be With Me Now (a co-production of Festival Aix-en-Provence, the Dutch National Opera, and six other European presenters); two seasons at Ireland’s West Cork Chamber Music Festival; and her Italian debut with the Teatro Comunale di Bologna under the baton of Roberto Abbado.

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. Equally comfortable with new and old music, she has jumped in to replace ill soloists in several high-profile performances, including with Asko|Schönberg, Concertgebouw Amsterdam (Grote Zaal and Kleine Zaal), the Holland Festival, and the West Cork Chamber Music Festival, in chamber music from Shostakovich to Gubaidulina and oratorio from Nono to a premiere by Jan van de Putte. Her debut with the Dutch National Opera was in Claude Vivier Kopernikus (Coloratura Soprano), a production of its Talent Development Programme in 2014.

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. Equally comfortable with new and old music, she has jumped in to replace ill soloists in several high-profile performances, including with Asko|Schönberg, Concertgebouw Amsterdam (Grote Zaal and Kleine Zaal), the Holland Festival, and the West Cork Chamber Music Festival, in chamber music from Shostakovich to Gubaidulina and oratorio from Nono to a premiere by Jan van de Putte. Her debut with the Dutch National Opera was in Claude Vivier Kopernikus (Coloratura Soprano), a production of its Talent Development Programme in 2014.

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

news

  • review of my first Marschallin

    “Katharine Dain was an unusually youthful Marschallin, lovely in the Act One Monologue. At the close of the act, her line “…da drinnist die silberne Ros’n” with its arching high piano was beautifully done, as was the opening line of the Final Trio.” Musical Toronto, 12 June 2017 Indeed, I’m “unusually youthful” compared to this role’s usual casting, although the character herself is meant to be close to my age. I hope this was the first of many chances to dive […]
  • review of Matthew Passion with King’s College Cambridge

    “Soprano Katharine Dain’s delivery of the plaintive, tender melody, ‘Aus Liebe, Aus Liebe’, with flute accompaniment, held everyone spellbound and caught at precisely its right moment the sheer depth of a sorrow that would only be finally alleviated by the warm reassurance of the aria, ‘Mache dich, mein Herze,’ sung with robust conviction by impressive bass Brindley Sherratt.” Cambridge News, 12 April 2017  
  • website 3.0

    After a huge amount of work, I’m delighted to present my new website. I’ve come a long way since iWeb and my earliest WordPress days. Please do send me any feedback–problems you spot or things you like. I’ll keep tweaking, but this project has been yet another labor of love, and I’m happy to have invested the time and learned a lot as I went.
  • win in Clermont-Ferrand

    On 4 March 2017, I was a prizewinner at the 25th Clermont-Ferrand International Voice Competition. The prize is a contract for performances of the role of Konstanze in a new production of Mozart’s Die Entführung aus dem Serail that will tour to Clermont-Ferrand, Avignon, Rouen, Massy, and Reims in 2018 and 2019. The final round was enthusiastically reviewed in Forum Opera: “her ‘Martern aller Arten’ promises us a splendid heroine.” Watch my performance of Konstanze’s aria below.

blog

  • vacation
    July 30, 2017
    Greetings from gorgeous Finland, where I am hiking, cycling, sleeping, sauna-ing, birdwatching, eating a lot of strawberries and salmon and rye bread, and generally letting the dust settle from this season. I'm also sifting my thoughts about high and low points and how I want to move forward; probably there will be a longer post about this later. For now, though, there's just a rowboat.
  • the unshakable Marschallin
    June 8, 2017
    I’m in Toronto, and last night was Rosenkavalier dress rehearsal. I’m singing Marschallin in two concert performances with chamber orchestra this weekend, and the process of learning this monumental score has been overwhelming, joyful, fraught, thoughtful, stressful, beautiful—depends on which day you ask. Tomorrow night is the first performance, and today is a rest day. I’m staying with some family who live just outside of town. What have I done so far today, after last night’s tiring...
  • thank goodness
    April 15, 2017
    Hot on the heels of a magnificent Matthew Passion (Choir of King's College Cambridge, Academy of Ancient Music, Stephen Cleobury), I found myself on the train back to London, reading the following New Yorker article (March 27, 2017) about the philosopher Daniel Dennett, who studies consciousness. Although the whole article resonated with me, the following in particular struck a chord. Dennett is often cited as one of the "four horsemen of the New Atheism." ......

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For bookings or inquiries, contact Katharine directly. To download a program kit, including biographies (English and Dutch, varying lengths) and high-resolution photographs, click here.

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