Liv Redpath
Liv Redpath is a leading soprano leggero on the opera and concert stages across the globe. She will open her 2022-23 calendar season singing the title role in the new Simon Stone production of Lucia di Lammermoor at Los Angeles Opera. Ms. Redpath will make debuts at La Monnaie de Munt as Sophie in Der Rosenkavalier under music director Alain Altinoglu with staging by Damiano Michieletto and Komische Oper Berlin as Ophélie in a new production of Hamlet by Nadja Loschky with Marie Jacquot and Erina Yashim sharing conducting duties, as well as the Glyndebourne Festival where she essays the role of Tytania in Britten’s A Midsummer Night’s Dream with Dalia Staseveska conducting the London Philharmonic Orchestra. Concert appearances include Handel’s Messiah with National Symphony Orchestra and Fabio Biondi; Nielsen’s Symphony No. 3 with The Cleveland Orchestra and Alan Gilbert; Orff’s Carmina Burana with Utah Symphony and Fawzi Haimor; Nielsen’s Hymnus Amoris and Symphony No. 3 with Danish National Symphony Orchestra and Fabio Luisi; and Beethoven’s Missa Solemnis at Aix en Provence with Balthazar Neumann Ensemble and Choir led by Thomas Hengelbrock. Ms. Redpath will join the Chamber Ensemble for the Orchestra of St. Luke’s to sing music of Fanny & Felix Mendelssohn with guest pianist David Fung.
During the 2021-22 season, Ms. Redpath returned to the Deutsche Oper Berlin to make her debut in the title role of Lucia di Lammermoor and the Metropolitan Opera where she covered the title role in Aucoin’s Eurydice conducted by Yannick Nézet-Séguin with staging by Mary Zimmerman. She made her Bayerische Staatsoper house debut singing the role of Sophie in Der Rosenkavalier under the baton of Vladimir Jurowski in a production by Barrie Kosky. Ms. Redpath stepped into the role of Zenobia in Handel’s Radamisto to debut with Philharmonia Baroque Orchestra in a new staging by Christophe Gayral under the baton of Richard Egarr. Her concert performances included Handel’s Saul at The Edinburgh Festival with John Butt leading The English Concert; a debut at Carnegie Hall’s Weill Recital Hall to sing a new arrangement of arias from Aucoin’s Eurydice with the MET Orchestra Chamber Ensemble conducted by Maestro Nézet-Séguin; an all-Schubert program of chamber ensembles and songs with members of the Orchestra of St. Luke’s with guest pianist Pedja Mužijević; and a chamber music gala concert in honor of Martin Chalifour’s 25th anniversary organized by the Los Angeles Philharmonic; and a Mozart Requiem with the Long Beach Symphony.
“As Queen Marguerite, Redpath lent her SENSUALLY ATTRACTIVE soprano.
The voice is of an ELEGANT TONAL BEAUTY and always has the right
VIRTUOSIC finish ready with FILIGREE EXECUTION”
OPERN & KONZERTKRITIK BERLIN
“She has a YOUTHFUL TIMBRE AND QUICKSILVER BLOOM on the voice that is RARE INDEED”
“Redpath SPARKLED whenever she was on stage…a feat of virtuosity…trills, roulades,
and STUNNING high notes with FINESSE
while sitting, lying, and standing in very high heels on a grand piano”
CINCINNATI BUSINESS COURIER
In the 2018-19, 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. Additional 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.
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, 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. 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 the 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. In addition to conductors previously mentioned, Ms. Redpath has also worked with James Levine, William Christie, 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.
Ms. Redpath was one of twelve finalists worldwide at the 2019 Operalia competition and sang under the baton of Plácido Domingo in Prague for the final round concert and was a finalist in Germany’s Neue Stimmen competition. She also received second prize, as well as 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 has 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 received further training in various programs at the Houston Grand Opera, Santa Fe Opera, Opera Theatre of Saint Louis, and Wolf Trap Opera. Ms. Redpath is a former Domingo-Colburn-Stein Young Artist with the Los Angeles Opera.