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Dutch-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. After taking the top prize in the 2017 Clermont-Ferrand International Vocal Competition, Katharine will make her role debut as Konstanze in a new production of Mozart Die Entführung aus dem Serail in five French opera houses throughout 2018 and 2019: Clermont-Ferrand, Avignon, Rouen, Massy, and Reims.

Dutch-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. After taking the top prize in the 2017 Clermont-Ferrand International Vocal Competition, Katharine will make her role debut as Konstanze in a new production of Mozart Die Entführung aus dem Serail in five French opera houses throughout 2018 and 2019: Clermont-Ferrand, Avignon, Rouen, Massy, and Reims.

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

  • Live broadcast of Schoenberg 2nd string quartet

    My performance in Amsterdam’s first String Quartet Biennale festival of Schoenberg’s epic 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.
  • First reviews of Entführung

    My first Konstanze in Mozart’s Die Entführung aus dem Serail (in January in Clermont-Ferrand, and touring afterwards to Avignon, Rouen, Massy, and Reims) is garnering rave reviews. Forum Opera says: “hyper technicienne et flamboyante de passion vécue pour un ‘Martern alle Arten’ de haute volée. Cette autre lauréate du 25e Concours de Chant déploie une projection radieuse, qu’elle sublime dans un ‘Ach, ich liebte’ aux fins aigus vertigineux d’une noblesse désespérée qui n’a d’égal que l’admirable puissance dramatique du ‘Welcher Wechsel.'” (“An […]
  • buzz for Entführung

    Several French publications are excited about my upcoming Entführung. Diapason lists this production in its top three performances not to miss in January, calling my performance at the Clermont-Ferrand competition a “revelation.” La Montagne did a nice preview article with an interview, and Zap Magazine published a very different, very fun interview about some of my extra-Mozartean musical interests. All three clippings can be seen here.
  • CD release of Jan van de Putte’s Pessoa Cyclus

    On December 3rd, my first commercial recording as a soloist will be released on the Etcetera label: a live recording of the world premiere in Amsterdam’s Concertgebouw of Insonia, one huge movement from Dutch composer Jan van de Putte’s monumental Pessoa-Cyclus. The CD, which also features sopranos Barbara Hannigan (!) and Keren Motseri, mezzo-soprano Barbara Kozelj, Cappella Amsterdam, and Asko|Schönberg under the direction of Reinbert de Leeuw, will be available for purchase here in a few weeks.

blog

  • Entführung diaries: Voice
    January 11, 2018
    In Kyoto, / hearing the cuckoo, / I long for Kyoto. —Basho Previously, I used my current production of Entführung as a lens for some musings on identity: how a character can change us, and then about some of the challenges of physicalizing such a piece of music. I've known there was a third post I needed to write, the most personal one (strange when the others were about love and body image!), and it's taken some time...
  • Entführung diaries: Body
    January 7, 2018
    “You have a good mind, a pretty face, a disciplined body that does what you tell it to. You have everything it takes to be a lovely woman except the one essential: an understanding heart. And without that you might just as well be made of bronze.” –The Philadelphia Story Previously, in Katharine’s Epically Long Musings on Identity And Her First Entführung: some thoughts about the character of Konstanze and how she relates to (and...
  • Entführung diaries: Character
    January 6, 2018
    Since I arrived in Clermont-Ferrand to begin rehearsals on my first Konstanze (in Mozart's Die Entführung aus dem Serail) in the second week of December, so much—in myself, in my singing, in my thinking—has shifted, or begun to shift. I couldn’t have asked for a more focused, attenuated, ambitious work process to bridge this change in the year and point the way forward. A lot of this focus has come from working on such a...

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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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