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Dutch-American soprano Katharine Dain maintains an active performance calendar in opera, chamber music, and oratorio throughout Europe and North America. 2018 saw her role debut as Konstanze in a production of Mozart’s Die Entführung aus dem Serail (performed in Rouen-Normandie, Avignon, Clermont-Ferrand, Reims, and Massy) 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). In 2019 she will sing Mozart’s Donna Anna with the Armel Opera Festival (in Ecuador and Budapest) as well as with the Orchestra of the 18th Century under Kenneth Montgomery. A fierce advocate of the contemporary repertoire, her debut with the Dutch National Opera was in Claude Vivier Kopernikus (Coloratura Soprano), a production of its Talent Development Programme.

Dutch-American soprano Katharine Dain maintains an active performance calendar in opera, chamber music, and oratorio throughout Europe and North America. 2018 saw her role debut as Konstanze in a production of Mozart’s Die Entführung aus dem Serail (performed in Rouen-Normandie, Avignon, Clermont-Ferrand, Reims, and Massy) 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). In 2019 she will sing Mozart’s Donna Anna with the Armel Opera Festival (in Ecuador and Budapest) as well as with the Orchestra of the 18th Century under Kenneth Montgomery. A fierce advocate of the contemporary repertoire, her debut with the Dutch National Opera was in Claude Vivier Kopernikus (Coloratura Soprano), a production of its Talent Development Programme.

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. She is frequently asked to jump in for high-profile performances of obscure repertoire, including Luigi Nono’s Il Canto Sospeso at the Holland Festival under Ingo Metzmacher, performances of Tavener, Gubaidulina, and Ravel 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 Dutch composer Jan van de Putte’s Insonia 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, which released its first album of quartets by Brahms and contemporaries, titled O schöne Nacht, in 2018 to enthusiastic reviews.

Katharine is becoming known for unusual musical imagination, intelligence, and fearlessness. She is frequently asked to jump in for high-profile performances of obscure repertoire, including Luigi Nono’s Il Canto Sospeso at the Holland Festival under Ingo Metzmacher, performances of Tavener, Gubaidulina, and Ravel 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 Dutch composer Jan van de Putte’s Insonia 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, which released its first album of quartets by Brahms and contemporaries, titled O schöne Nacht, in 2018 to enthusiastic reviews.

news

  • O schöne Nacht is out!

    At last, the release of Damask’s album of vocal quartets by Brahms and his contemporaries has arrived! The disc is available directly from us or from various online distributors and is now also downloadable on iTunes; other releases will follow. We have had several nice reviews already: “a perfectly executed, imaginative recital” (OpusKlassiek); “a remarkable fusion of timbres and palpable collaborative energy” (ON Magazine). We are thrilled.
  • Gubaidulina with the New European Ensemble

    In early October I sang on several concerts honoring the composer Sofia Gubaidulina with the New European Ensemble. I first encountered her magisterial Hommage à T. S. Eliot at West Cork Chamber Music Festival several years ago; I couldn’t believe the sheer force of the music and the sympathy of the text setting. It was a huge pleasure to revisit the piece with these stellar players, and we got an excellent review in the NRC: “In Hommage à T.S. Eliot (1987) liet […]
  • My first Cunégonde

    I’ve been singing the showpiece “Glitter and be gay” for years, but finally I got to sing the whole role of Cunégonde in Leonard Bernstein’s Candide in Banff. This role is a keeper; I had so much fun getting to know her, finding her unique physicality and voice, and being as much of a diva as possible. The Calgary Herald reviewed the whole show positively and had these kind words about my performance: “Casting Katharine Dain’s dark-hued Cunégonde was the […]
  • 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.

blog

  • in which my brain bids 2018 a relieved goodbye
    December 31, 2018
    Happy end of 2018, friends. It’s been a hard one for many of us. For me and my work, there have been moments of almost unbearable intensity, both good and bad, and stretches that were entirely business-as-usual. Typically, the latter periods bring stability and groundedness, but sometimes this year they did the opposite, which was to wind me up so much with feelings of banality and wheel-spinning that I occasionally wanted to quit everything and...
  • Coconuts and connection
    December 6, 2018
    While lying in a hot bath one chilly November morning in Seattle, trying to soothe my jet-lagged body before a concert and catching up on back issues of the New Yorker, I read the following: “What are you doing? I don’t mean what are you doing with your life, or in general, but what are you doing right now? The answer, in one respect, is simple enough: you’re reading this magazine. Obviously. From a certain...
  • What it takes to make an album
    November 12, 2018
    Almost as soon as I came back from my epic 2018 summer of travel and work, before I had time to learn where the light switches were in my new house or to recover from jet lag, I plunged straight into a completely full-on project that’s been consuming me every since: the making of the first Damask album. I’ve been involved in other people’s recordings before, and I’ve recorded short sessions of demo material...

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