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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

  • 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.
  • 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 […]

blog

  • 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...
  • Strength
    June 28, 2018
    “How much time we wasted, she wrote, believing that things came to us as gifts, through channels of wonder, in the form of signs, in the love of men, in the name of God, rather than seeing them for what they were: strengths that we dragged up from the nothingness of our own depths.” –Nicole Krauss, “Seeing Ershadi” I encountered the above quote in the New Yorker while reading in the middle of the night...
  • 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...

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