Liv Redpath is one of the most promising young soprano leggero on the opera and concert stage today. During the 2019-20 season, Ms. Redpath will sing the part of Salome in Stradella’s San Giovanni Battista directed by Christopher Alden and conducted by Stephen Stubbs at Opera Omaha. She will return to the Los Angeles Opera to sing the role of Little Stone in the world-premiere of Eurydice under conductor and composer Matthew Aucoin with Mary Zimmerman directing. Ms. Redpath will also cover the role of Sophie in Robert Carsen’s production of Der Rosenkavalier by Richard Strauss at the Metropolitan Opera. Additional concert appearances include Mahler’s Symphony No. 4 with conductor Yaniv Dinur with the New Bedford Symphony and Mozart’s Requiem with The Saint Paul Chamber Orchestra under the baton of Richard Egarr. She rejoins the Bakken Trio in her native Minnesota for a concert of Boulanger’s Clairières dans le ciel, Fauré’s La Bonne Chanson, and André Previn’s Four Songs.
Last season, Ms. Redpath sang a program featuring the Haydn “Lord Nelson” Mass and Beethoven Mass in C major with the Los Angeles Philharmonic under conductor Gustavo Dudamel and she rejoined the orchestra as the soprano soloist in Beethoven’s Symphony No. 9 at the Hollywood Bowl with conductor Xian Zhang. She also made her role debut as Gretel in Humperdinck’s Hansel & Gretel under the baton of James Conlon at the Los Angeles Opera, in addition to singing the Voce dal cielo in Verdi’s Don Carlo and covering Servilia in Mozart’s La clemenza di Tito with the company. Ms. Redpath performed a concert of Rameau and Handel arias with Tesserae Baroque led by Christophe Rousset; reprised the role of Zerbinetta in Strauss’s Ariadne auf Naxos for Cincinnati Opera; and covered the role of Bess in Breaking the Waves at the Edinburgh International Festival produced by Scottish Opera. Her concert appearances included the Los Angeles Master Chorale at Walt Disney Concert Hall for a pairing of Mozart’s Requiem and Kirchner’s Songs of Ascent; Ravel’s L’enfant et les sortilèges as Le feu/la princesse/le rossignol with the Pacific Symphony; semi-staged concerts of Bernstein’s Candide as Cunégonde conducted by Philip Brunelle; as well as chamber performances of Brahms and Shostakovich songs with the Bakken Trio.Read more
Highlights of the 2017-18 season included a role and house debut as Zerbinetta in Richard Strauss’s Ariadne auf Naxos at The Santa Fe Opera; performances with the Los Angeles Philharmonic in Beethoven’s Choral Fantasy at the Hollywood Bowl; a debut with Seattle Symphony in Vivaldi’s Gloria. Her assignments at the Los Angeles Opera were comprised of L’amour in John Neumeier’s new production of Gluck’s Orphée et Eurydice; Frasquita in Bizet’s Carmen; Countess Ceprano and covering Gilda in Verdi’s Rigoletto; Anna in Verdi’s Nabucco; Messenger in Aucoin’s Crossing; and a cover of Cunégonde in Candide.
Past seasons have included performances of Olympia in Offenbach’s Les Contes d’Hoffmann and covers of Konstanze and Blonde in Mozart’s Die Entführung aus dem Serail with Los Angeles Opera; Echo in Strauss’s Ariadne auf Naxos with Opera Theatre of Saint Louis; Héro in Berlioz’s Béatrice et Bénédict at the Aspen Music Festival; Thérèse in Poulenc’s Les mamelles de Tirésias, Angelo in Handel’s La resurrezione, Königin der Nacht in Mozart’s Die Zauberflöte, Barbarina in Mozart’s Le nozze di Figaro, and Diane in Gluck’s Iphigénie en Aulide with The Juilliard School; as well as covering the Queen of Shemakha in Rimsky-Korsakov’s The Golden Cockerel and scene work as Sophie in Strauss’s Der Rosenkavalier with The Santa Fe Opera. Ms. Redpath has also performed Tytania in Britten’s A Midsummer Night’s Dream, Adele in Johann Strauss’s Die Fledermaus, La Fée in Massenet’s Cendrillon, Belinda in Purcell’s Dido and Aeneas, and the title role in Lakmé of Delibes. She has also covered Fiorilla in Rossini’s Il turco in Italia, Lisette in Puccini’s La rondine, Cleopatra in Handel’s Giulio Cesare, India in Perla’s Shalimar the Clown, and the title roles in Gluck’s Iphigénie en Aulide and Rimsky-Korsakov’s The Snow Maiden. Ms. Redpath worked with Barbara Hannigan on Schoenberg’s String Quartet No. 2 for The Juilliard School’s ChamberFest; performed Babbitt’s Philomel from memory for the Focus! Festival; and was featured in New York Festival of Song’s At Home concert after a week of residency at the Caramoor Center for the Arts. She debuted at Carnegie Hall in Poulenc’s Gloria and Vaughan-Williams’ Hodie, and subsequently returned to sing Handel’s Messiah.
Ms. Redpath has worked with such prestigious conductors as James Conlon, Plácido Domingo, Gustavo Dudamel, William Christie, James Levine, Emmanuel Villaume, James Gaffigan, Stephen Lord, and Bramwell Tovey, as well as stage directors Francesca Zambello, Paul Curran, Ed Berkeley, James Robinson, Tim Albery, and Mark Lamos, among others.
This year Ms. Redpath received second prize, the special French opera prize, and audience favorite at the 56th Tenor Viñas International Contest at the Gran Teatre del Liceu in Barcelona and subsequently sang the winners concert held at Teatro Real in Madrid. She has also been awarded prizes by Metropolitan Opera National Council Auditions, Palm Springs Opera Guild, Houston Grand Opera’s Eleanor McCollum Competition, The Opera Index Competition, The Loren L. Zachary Society, and the Licia Albanese Puccini Foundation. Additionally, Ms. Redpath had the honor of performing for the First Lady of China, Mme. Peng Liyuan.
A graduate of Harvard University and The Juilliard School, Ms. Redpath attended the Houston Grand Opera’s Young Artists’ Vocal Academy, was an Apprentice Artist with The Santa Fe Opera, a Gerdine Young Artist at Opera Theatre of Saint Louis, a Studio Artist for Wolf Trap Opera, and is a former Domingo-Colburn-Stein Young Artist with the Los Angeles Opera.
“…the most brilliant being the high-wire act of soprano Liv Redpath as Zerbinetta, in her famous coloratura showstopper….Redpath sparkled whenever she was onstage, whether singing a poignant duet with the Composer, or attempting to console the abandoned Ariadne in the Opera. It was a feat of virtuosity — she warbled trills, roulades and stunning high notes with finesse while sitting, lying and standing in very high heels on a grand piano.”Janelle Gelfand
“As Zerbinetta, Liv Redpath commanded the stage before even singing a note….Her showstopping aria was breathtaking in execution, high notes spun out effortlessly and never without expression. I’ve never heard or seen Zerbinetta portrayed with so much heart, hinting at a more tragic side.”Anne Arenstein