PRESS 2020-02-11T17:44:04+00:00

Hansel & Gretel at LA Opera

Always a standout with her buttery soprano, Liv Redpath was every inch the child Gretel, romping with the loose-limbed vigor of a ten-year-old

Jane Rosenberg


Liv Redpath’s gorgeously sweetened soprano was a perfect match for her spirited, pretty, Gretel. Redpath’s biggest vocal asset is a soaring upper range highlighted with polished crystal notes, and she deploys them in her element. The two [Cooke and Redpath] blend together adorably with lots of physical comradeship and duets that touch the heart. One of the most famous folk music-inspired tunes, Act Two’s ‘Evening Prayer’, is a special one that showcases the pair’s gift to capture a child’s innocence and hope most tenderly and affectingly.


Liv Redpath, whom I’ve admired since I first heard her beguiling soprano in a range of character parts, was spot on as Gretel. The role’s difficulty is often underestimated and it’s not an easy sing. She was particularly enchanting in the forest scenes and her voice increased in size as the evening progressed and her confidence grew.

Patrick Mack


Sasha Cooke and Liv Redpath as the two kids were cute as buttons and once they got off the steeply raked porch outside their house you could hear just how brilliantly each of them sang. Director and designer Doug Fitch gave them a lot of business to do on a stage with at least fourteen animals, little mounds of grass, and giant glowing, growing mushrooms; they responded with more than enough voice and charisma to burn.

Laurence Vittes


Dwarfed by this exaggerated fantasyland, mezzo-soprano Sasha Cooke and soprano Liv Redpath were effectively shrunken into playful young siblings. As Gretel, Redpath was lithe and engaging, matching Cooke’s effortless midrange power to create perfectly matched duets.

Catherine Womack


The cast is well chosen. Liv Redpath is a wonderfully spunky, resourceful, and lyrically bright Gretel — an admirably empowering role model for the young ladies in the audience. It is she, not her brother, who proves clever enough to save the day. Her bull-in-a-china-shop brother is sung with rambunctious energy by Sasha Cooke. The two siblings play well off each other as they explore the forbidden wood with its menagerie of creatures, are trapped by the witch, defeat her evil intentions, and free the enchanted gingerbread children.

Jim Farber


A stellar cast was assembled to inhabit this fantasy world. Thanks to lively direction (also by Doug Fitch) and theater magic, Sasha Cooke and Liv Redpath look and act like two fidgeting, mischevious teenagers, singing their lines in childlike pure tones, whose similar timbres suggest their sibling kinship. (This Gretel even manages to slide down a lollipop flagpole at the witch’s house like an intrepid fireman!)

Truman C. Wang

Classical Voice

At the forefront are mezzo-soprano Sasha Cooke and soprano Liv Redpath…The two share a convincing chemistry as compassionate siblings who stay relatively optimistic despite the pangs of hunger. Their rice cream dance will make attendees smile…Vocally, Redpath and Cooke sound smooth and wholesome in Act One, when they sing their ‘Cuckoo’ ditty, and particularly in Act Two, upon waking from atop a large hedge in the forest, [as they] dulcetly recall of the guardian animal angels who encircled and stood vigil at their slumber.

Imaan Jalali


Ariadne auf Naxos at Santa Fe Opera

The most impressive of the cast is soprano Liv Redpath as the feisty Zerbinetta. At only 26 years old, Redpath is a powerhouse. Her soprano penetrates the air and pierces the ear, reminiscent of a young Beverly Sills. She exudes all of the carefree, nymph-like attitude of the character, and is particularly coquettish in her grand aria, which received the biggest ovation of the night. It was a privilege to see Redpath at such an early stage in her career, for she will surely be a recognizable name in a few years.

Arya Roshanian


Liv Redpath was a sparkling Zerbinetta

Heidi Waleson


Liv Redpath is a Zerbinetta less ditzy than usual, more sympathetically grounded, with lower-range warmth as well as all the stratospheric glitter you could want for the ‘Größmächtige Prinzessin’ aria.

Scott Cantrell


Liv Redpath’s Zerbinetta stole the show with her intricately varied ‘Großmächtige Prinzessin’.

Thomas May


The 45-minute first act firmly establishes the stars of this production: Majeski’s Composer and Redpath’s Zerbinetta. Not only are they charismatic on their own, but they find their way to each other for a romance that practically throws off visible sparks. The fantastic performances from both women could not be more different, but come together with chemistry so exhilarating, I doubt Strauss could ever have imagined its effect on audiences an ocean and a century away…And now for the timeless humanity: Zerbinetta, in a flawless and acrobatic rondo, essentially tells the slumped figure in the egg to get over herself. Praise be to Zerbinetta (and, in turn, Redpath)! She emerges as the true heroine of this story.

Charlotte Jusinski


Former Apprentice Liv Redpath, making her Santa Fe Opera debut as coquettish Zerbinetta, was enchanting. She completely immersed herself in the role. Her tour de force aria in Ariadne’s cave was stunning, pure, silvery perfection.

Mary Helen Klare


Redpath was a revelation: she had the most interesting part, after all — as the leader of the burlesque troupe, she comments snidely on all the action. And that voice — facile, very high, light, and colorful — made her the linchpin of the performance.

Keith Powers

Classical Voice North America

Soprano Liv Redpath makes her official house debut with a winning portrayal of Zerbinetta, the lead comedienne. Rather than play her as merely a flirtatious coquette, as one sometimes sees, she rendered the character as naturally chipper, charming, and optimistic. She had the role firmly in hand, tossing off the trills and high E’s in her famous aria ‘Größmächtige Prinzessin’ as if the part was not all that difficult. (Oh, but it is.)

James M. Keller


Orphée et Eurydice at LA Opera

Liv Redpath veritably shone in the role of Amour. Her character as part of the real world was Orpheus’ young male assistant, so nothing fantastical except her voice, which was clean and bright and exceptionally attuned to the tricky rhythms in Gluck’s writing. She brings great pleasure when she sings and remains a voice to follow.

Patrick Mack


Redpath has a beatific essence about her projection…and, although she has the least amount of stage time of the three principal roles, [she] has a presence that tangibly lingers.

Imaan Jalali


Liv Redpath was a honey-voiced and expressive Amour.

Jane Rosenberg


Liv Redpath as Amour, is a fully fledged star now at LA Opera, and rightly so. This reviewer has enjoyed three of her tremendous performances this season.

Loren Lester


Liv Redpath’s beautifully sung Amor was charming and resourceful.

Laurence Vittes


Amour is performed with unforgettable delicacy by soprano Liv Redpath.

David Gregson


Nabucco at LA Opera

I need to make special mention of the Anna of Ms. Liv Redpath. Sadly Verdi gave her but a few short solo lines but she has a youthful timbre and quicksilver bloom on the voice that is rare indeed. I don’t want to spoil but she does have special moment in the curtain calls, which are staged for theatrical effect, and she is the perfect choice for that cameo, so don’t try to beat the traffic home for once.

Patrick Mack


The applause at the end of the opera was tremendous. Following a few bows that included the chorus, Monastyrska called for quiet and Liv Redpath, the silver-voiced soprano from the young artist program who had sung Anna, began to sing Va pensiero as a solo. The chorus joined her for the second verse, after which the audience was invited to sing along and the titles screen showed the Italian words. More than a few operagoers left the auditorium happily singing their way to the parking lot.

Maria Nockin

Broadway World

An Evening of Monteverdi with Opera Lafayette

Soprano Liv Redpath and mezzo-soprano Lea Désandre were the evening’s stars; as if in acknowledgement of their status, Opera Lafayette used one or another–sometimes both–in every number. Both stayed firmly within the Baroque stylistic boundaries, while betraying not a trace of early-music primness, showing that Monteverdi in his way can be as expressively direct as Mascagni. Redpath’s voice was fresh and sweet; cool without being the least bit narrow. In Lamento della Ninfa, which pits the soprano against a ‘continuo section’ of tenor, baritone, and bass, she showed a marvelous sense of rubato, flying freely within the male contingent’s firm metrical framework. Redpath moreover proved herself a striking stage presence, never more so than in the scena Il Combattimento di Tancredi et Clorinda. She had very little to sing there, but in her demeanor she decisively proved herself the noble warrior…Désandre’s voice has a similar instrumental beauty, and in two duets, the two voices blended to wonderful effect; Désandre’s clarinet setting off Redpath’s flute.

Fred Cohn

Opera News


 This delightful concert was the first time that a guest music director has led Opera Lafayette. Lutenist Thomas Dunford, in collaboration with guest harpsichordist Jean Rondeau, brought together a continuo section also made up completely of guest musicians. The selection of music by Claudio Monteverdi, whose 450th birthday was celebrated this year, featured a strong vocal consort, most notably Lea Désandre and Liv Redpath.

Désandre’s voice combines seamlessly with soprano Liv Redpath in the flighty, run-filled duet ‘O come sei gentile.’ This quasi-trio sonata (two high voices plus continuo), is featured in some of Monteverdi’s greatest music. In the tragic duet ‘Ohimè dov’è il mio ben,’ the two women perfectly judged the combination of their voices in anguished suspensions, sweetly resolving, with one never overwhelming the other in sound…On her own, Redpath was also excellent, an intense quiver in her tone communicating the grief of the nymph in the ‘Lamento della ninfa,’ set to a repeated descending bass pattern, filled out inventively by Dunford’s archlute. The three male singers were at their best in this piece, forming a cohesive unit observing Redpath’s distress.

Charles T. Downey

The Washington Review

Carmen at LA Opera

 Just as memorable, though, is the first half of the piece, sung by Carmen’s gypsy friends — Mercédès (Kelley O’Connor) and Frasquita (Liv Redpath), who fancifully role-play their augured futures of marrying a young and old man, respectively. O’Connor makes a worthwhile impression, but it is the soprano, Redpath, who shows telltale signs as a future leading lady with an elite comic timing, and especially a vocal capacity that rings out with an astounding clarity and volume.

Imaan Jalali

LA Excites

 My hat goes off to the quartet of gypsy ladies and smugglers that consisted of Liv Redpath as Frasquita, Kelley O’Connor as Mercedes, Brian Michael Moore as Remendado, and Theo Hoffman as Dancaire. Ms. Redpath made an especially beautiful impression in the ensembles as the evening progressed and her voice continued to warm.

Patrick Mack


Such energetic forces also raise the bar during the smugglers’ quintet. Liv Redpath’s Frasquita unflinchingly retains all high notes while Kelley O’Connor’s more mellow-voiced Mercédès rounds out the lower end. When adding Brian Michael Moore’s and Theo Hoffman’s Le Remendado and Le Dancaïre, respectively, along with Ana María Martínez, the tune is steeped with splashy vivaciousness.

Christie Grimstad


 In addition to Martínez, Liv Redpath as Frasquita and Kelley O’Connor as Mécèdes are particular stand outs.

Barlo Perry


LA Opera Domingo-Colburn-Stein Young Artist 10th Anniversay Gala

And it was fascinating to compare the fresh sound of soprano Liv Redpath and the meticulously controlled, developed talent of Radvanovsky.

Catherine Womack

Los Angeles Times

 Soprano Liv Redpath and baritone Theo Hoffman followed with an enthusiastic rendition of the act I duet between Norina and Dr. Malatesta from Don Pasquale. They both gave spirited performances with Ms. Redpath proving especially canny and displaying an attractive bloom on a voice that seemed sizeable for the role.

Patrick Mack


First year program member Liv Redpath showed not only the beauty of her mid-sized voice but also a talent for comedy when she sang Pronto io son from Gaetano Donizetti’s Don Pasquale.

Maria Nockin

Opera Today

Nosferatu at Ace Hotel

In between the yuk-yuks, the audience received some first-class exposure to snatches of classical music, superbly played by a 14-piece chamber ensemble from the LA Opera Orchestra seated underneath and in front of the screen, with luminous singing and Sprechgesang from soprano Liv Redpath.

Richard S. Ginell

Classical Voice North America

 Aucoin was asking a lot of Redpath when he expected the soprano to be equally comfortable interpreting the sprechgesang of Schoenberg, the lilt of Schubert’s lieder, and have enough left in reserve to end with the Death and Transfiguration aria from Tristan. But Redpath did admirably, especially in the sections from Pierrot Lunaire. 

Jim Farber

San Francisco Classical Voice

Ariadne auf Naxos at Opera Theatre of Saint Louis

The three nymphs, Elizabeth Sutphen (Naiad), Stephanie Sanchez (Dryad) and Liv Redpath (Echo), looking like ambulatory Greek statues, sang well, with a good blend; Redpath was the first among equals, with a gorgeous, evenly produced soprano.

Sarah Bryan Miller

St. Louis Post-Dispatch

 The effortless, limpid, perfectly matched singing by Elizabeth Sutphen (Naiad), Stephanize Sanchez (Dryad), and Liv Redpath (Echo) would be a worthy trio in any major international company. Their lovely vocalizing and immaculate balance as fluid phrases tumbled over each other was simply ravishing.

James Sohre

Opera Today

Les mamelles de Tirésias at The Juilliard School

Liv Redpath was a stunning Thérèse/Tirésias in Mamelles, a trace of tartness giving her limpid high soprano a Gallic tang.

Fred Cohn

Opera News

 There were too many fine singers in the dual casts on Wednesday evening to mention. In Les Mamelles, Samuel Levine (the beleaguered Husband) and Liv Redpath (the rebellious Thérèse) were both wonderfully appealing.

James R. Oestreich

New York Times

As Thérése/Tirésias, soprano Liv Redpath gave an athletic performance with clear, silvery tone.

Paul J. Pelkonen

Super Conductor

A soprano leggero, rather than lyric soprano, Thérèse, Liv Redpath shone particularly in the high, quiet, florid pages, such as the Fortuneteller solo.

Bruce-Michael Gelbert

Q on Stage

Le nozze di Figaro at The Juilliard School

Liv Redpath (Barbarina) displayed a really exquisite voice, with an immediately recognizable personal timbre.

David Shengold

Gay City News

  Liv Redpath’s generous soprano made her a rather mature-sounding Barbarina, but she sang her lament for the lost pin beautifully.

Fred Cohn

Opera News

Iphigénie en Aulide with Met + Juilliard

 The cool, instrumental soprano of Liv Redpath proved ideal for Diane, the opera’s dea ex machina: it was as if the sky itself had been rendered into sound

Fred Cohn

Opera News

La resurrezione with Juilliard415

Handel’s vocal writing can be fiercely demanding, nowhere more so than in the Angel’s opening aria, Be unbarred, ye gates of Avernus, in which Liv Redpath, a soprano, displayed lovely tone and fine agility.

James R. Oestreich

New York Times

As the Angelo, Liv Redpath was not the usual bright-voiced coloratura but a warm lyric with excellent agility: she only had to occasionally snatch an extra breath during those murderous runs in Disserativi. Her best moment instead came in the lovely Se per colpa where her voice intertwined eloquently with the fine continuo forces.

Christopher Corwin