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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

  • 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.
  • Raves for Konstanze in Avignon

    I’ve just wrapped up my second stint of Konstanzes in Avignon, and the reviews are in: “Katharine Dain, soprano américaine au lyrisme clair et pur, passe des tons les plus chauds aux notes les plus aigües avec une belle aisance, elle offre au personnage de Konstance toute la sincérité du rôle.” (“Katharine Dain, an American soprano of clear and pure lyricism, moves from the warmest tones to the highest notes with beautiful ease. She brings to the character of Konstanze […]
  • Live broadcast of Schoenberg 2nd string quartet

    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.
  • 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 excellent 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 […]

blog

  • 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...
  • 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...

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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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