"Munich is a place where we have had some of the strongest Sophies:
Seen and Heard International
"....frenetic, never-ending interim applause for Redpath's breathtaking Ophélie...Equal to the former bravura aria by Maria Callas...such a radiant voice, effortless even in the highest register and breathtaking coloratura, has likely not been heard for a long time"
Berliner Umschau
"....frenetic, never-ending interim applause for Redpath's breathtaking Ophélie...Equal to the former bravura aria by Maria Callas...such a radiant voice, effortless even in the highest register and breathtaking coloratura, has likely not been heard for a long time"
Berliner Umschau
"Munich is a place where we have had some of the strongest Sophies:
Seen and Heard International
UPCOMING
For the 2026/27 season, Ms. Redpath will make debuts at Opernhaus Zürich as Norina in Christof Loy’s production of Don Pasquale led by Antonino Fogliani, as well as taking on her first role in the Russian repertoire as the Queen of Shemakha in The Golden Cockerel at Theater an der Wien with Valentin Uryupin on the podium and Maxim Didenko directing. She returns to Bayerische Staatsoper as Pamina in Die Zauberflöte with conductor Michele Spotti in August Everding’s production and to Staatsoper Hamburg for her signature role of Lucia di Lammermoor in Amélie Niermeyer’s production conducted by Daniele Squeo. Concert appearances include Mendelssohn’s Elijah with Daniel Harding and Orchestre de Paris; Mahler’s Symphony No. 4 with Fabio Luisi and National Danish Symphony Orchestra; Schubert’s Mass No. 2 in G Major and Mozart’s Requiem with Christoph Rousset and Orchestra of St. Luke’s at Carnegie Hall; Beethoven’s Christus am Ölberge with Manfred Honeck, first with Pittsburgh Symphony Orchestra, followed later on in collaboration with Accademia Nazionale di Santa Cecilia; Mendelssohn’s Symphony No. 2 “Lobgesang” with Christian Blex and Danish Philharmonic Orchestra; Poulenc’s Gloria with Ludovic Morlot and New Jersey Symphony, followed later on with Erina Yashima and Charlottesville Symphony; Haydn’s Die Schöpfung on tour with with Klaas Stok, NDR Vokalensemble, and Kammerakademie Potsdam; Handel’s Messiah with Christoph Koncz and Boston Baroque; and a tour of Beethoven’s Symphony No. 9 with Raphaël Pichon and Pygmalion to Bordeaux, Toulouse, Aix-en-Provence, Antwerp, and Madrid. Ms. Redpath returns to the Santa Fe Chamber Music Festival for a recital with pianist Julius Drake.
UPCOMING
For the 2026/27 season, Ms. Redpath will make debuts at Opernhaus Zürich as Norina in Christof Loy’s production of Don Pasquale led by Antonino Fogliani, as well as taking on her first role in the Russian repertoire as the Queen of Shemakha in The Golden Cockerel at Theater an der Wien with Valentin Uryupin on the podium and Maxim Didenko directing. She returns to Bayerische Staatsoper as Pamina in Die Zauberflöte with conductor Michele Spotti in August Everding’s production and to Staatsoper Hamburg for her signature role of Lucia di Lammermoor in Amélie Niermeyer’s production conducted by Daniele Squeo. Concert appearances include Mendelssohn’s Elijah with Daniel Harding and Orchestre de Paris; Mahler’s Symphony No. 4 with Fabio Luisi and National Danish Symphony Orchestra; Schubert’s Mass No. 2 in G Major and Mozart’s Requiem with Christoph Rousset and Orchestra of St. Luke’s at Carnegie Hall; Beethoven’s Christus am Ölberge with Manfred Honeck, first with Pittsburgh Symphony Orchestra, followed later on in collaboration with Accademia Nazionale di Santa Cecilia; Mendelssohn’s Symphony No. 2 “Lobgesang” with Christian Blex and Danish Philharmonic Orchestra; Poulenc’s Gloria with Ludovic Morlot and New Jersey Symphony, followed later on with Erina Yashima and Charlottesville Symphony; Haydn’s Die Schöpfung on tour with with Klaas Stok, NDR Vokalensemble, and Kammerakademie Potsdam; Handel’s Messiah with Christoph Koncz and Boston Baroque; and a tour of Beethoven’s Symphony No. 9 with Raphaël Pichon and Pygmalion to Bordeaux, Toulouse, Aix-en-Provence, Antwerp, and Madrid. Ms. Redpath returns to the Santa Fe Chamber Music Festival for a recital with pianist Julius Drake.
aBOUT
Liv Redpath is a young leading soprano leggero on opera and concert stages around the world.
Last season, Liv made debuts at Teatro Real in the new Deborah Warner production of A Midsummer Night’s Dream as Tytania under the baton of Ivor Bolton and at Semperoper Dresden as Pamina in Die Zauberflöte led by Giulio Cilona. She returned to the Glyndebourne Festival for her role debut as Konstanze in the David McVicar production of Die Entführung aus dem Serail led by Evan Rogister and to Staatsoper Hamburg as Pamina in Die Zauberflöte with conductor Keren Kagarlitsky in Jette Steckel’s production. Orchestral engagements included return appearances with the Berliner Philharmoniker to sing Mater Gloriosa in Mahler’s Symphony No. 8 at the Salzburg Easter Festival under the baton of Kirill Petrenko; LA Phil for Debussy’s La damoiselle élue with Esa-Pekka Salonen on the podium; Orchestra of St. Luke’s at Carnegie Hall in Beethoven’s Symphony No. 9 with Raphaël Pichon at the helm; and Danish National Symphony Orchestra in Copenhagen for Mahler’s Symphony No. 8, led by principal conductor Fabio Luisi. Concert debuts included the Orchestra Sinfonica Nazionale della RAI for Hans Abrahamsen’s Let me tell you, conducted by Thomas Dausgaard; Barcelona Symphony Orchestra for performances and a recording as Le feu/La princesse/Le rossignol in Ravel’s L’enfant et les sortilèges with Music Director Ludovic Morlot, a work she also performed earlier with the San Diego Symphony and their Music Director, Rafael Payare; and Phoenix Symphony for Mahler’s Symphony No. 4 and Mozart’s Exsultate, jubilate with conductor Alex Amsel. During the holidays, Ms. Redpath performed Handel’s Messiah alongside the Cleveland Symphony Orchestra with Bernard Labadie; The Saint Paul Chamber Orchestra with Dinis Sousa; and American Bach Soloists with Jeffrey Thomas. Her calendar was completed by recitals at Wigmore Hall in London and the Park Avenue Armory in New York City with pianist Harry Rylance.
High points of previous seasons have included a first outing as Ophélie where she was “met with never-ending interim applause” in a new production of Thomas’ Hamlet by Nadja Loschky at Komische Oper Berlin with Marie Jacquot on the podium; many iterations of two favorite roles: Lucia di Lammermoor at Royal Opera House, Staatsoper Hamburg, Deutsche Oper Berlin, and Simon Stone’s new production at LA Opera, as well as Sophie in Der Rosenkavalier at Bayerische Staatsoper, La Monnaie / de Munt, and Santa Fe Opera in productions by Barrie Kosky, Damiano Michieletto, and Bruno Ravella, respectively; her Metropolitan Opera debut as Oscar in David Alden’s production of Un ballo in maschera; her first Agnès in George Benjamin’s Written on Skin with Accademia Nazionale di Santa Cecila; a Susanna debut in Laurent Pelly’s Le nozze di Figaro led by Harry Bicket; Mozart’s Mass in C Minor with Manfred Honeck and Danish National Symphony; and a Glyndebourne debut as Tytania in Peter Hall’s iconic production of A Midsummer Night’s Dream. Other orchestral collaborations have included Berliner Philharmoniker, The Cleveland Orchestra, LA Phil, National Symphony Orchestra at The Kennedy Center, The English Concert, Balthasar Neumann Choir and Orchestra, Cincinnati May Festival, Seattle Symphony, and Philharmonia Baroque.
aBOUT
Liv Redpath is a young leading soprano leggero on opera and concert stages around the world.
Last season, Liv made debuts at Teatro Real in the new Deborah Warner production of A Midsummer Night’s Dream as Tytania under the baton of Ivor Bolton and at Semperoper Dresden as Pamina in Die Zauberflöte led by Giulio Cilona. She returned to the Glyndebourne Festival for her role debut as Konstanze in the David McVicar production of Die Entführung aus dem Serail led by Evan Rogister and to Staatsoper Hamburg as Pamina in Die Zauberflöte with conductor Keren Kagarlitsky in Jette Steckel’s production. Orchestral engagements included return appearances with the Berliner Philharmoniker to sing Mater Gloriosa in Mahler’s Symphony No. 8 at the Salzburg Easter Festival under the baton of Kirill Petrenko; LA Phil for Debussy’s La damoiselle élue with Esa-Pekka Salonen on the podium; Orchestra of St. Luke’s at Carnegie Hall in Beethoven’s Symphony No. 9 with Raphaël Pichon at the helm; and Danish National Symphony Orchestra in Copenhagen for Mahler’s Symphony No. 8, led by principal conductor Fabio Luisi. Concert debuts included the Orchestra Sinfonica Nazionale della RAI for Hans Abrahamsen’s Let me tell you, conducted by Thomas Dausgaard; Barcelona Symphony Orchestra for performances and a recording as Le feu/La princesse/Le rossignol in Ravel’s L’enfant et les sortilèges with Music Director Ludovic Morlot, a work she also performed earlier with the San Diego Symphony and their Music Director, Rafael Payare; and Phoenix Symphony for Mahler’s Symphony No. 4 and Mozart’s Exsultate, jubilate with conductor Alex Amsel. During the holidays, Ms. Redpath performed Handel’s Messiah alongside the Cleveland Symphony Orchestra with Bernard Labadie; The Saint Paul Chamber Orchestra with Dinis Sousa; and American Bach Soloists with Jeffrey Thomas. Her calendar was completed by recitals at Wigmore Hall in London and the Park Avenue Armory in New York City with pianist Harry Rylance.
High points of previous seasons have included a first outing as Ophélie where she was “met with never-ending interim applause” in a new production of Thomas’ Hamlet by Nadja Loschky at Komische Oper Berlin with Marie Jacquot on the podium; many iterations of two favorite roles: Lucia di Lammermoor at Royal Opera House, Staatsoper Hamburg, Deutsche Oper Berlin, and Simon Stone’s new production at LA Opera, as well as Sophie in Der Rosenkavalier at Bayerische Staatsoper, La Monnaie / de Munt, and Santa Fe Opera in productions by Barrie Kosky, Damiano Michieletto, and Bruno Ravella, respectively; her Metropolitan Opera debut as Oscar in David Alden’s production of Un ballo in maschera; her first Agnès in George Benjamin’s Written on Skin with Accademia Nazionale di Santa Cecila; a Susanna debut in Laurent Pelly’s Le nozze di Figaro led by Harry Bicket; Mozart’s Mass in C Minor with Manfred Honeck and Danish National Symphony; and a Glyndebourne debut as Tytania in Peter Hall’s iconic production of A Midsummer Night’s Dream. Other orchestral collaborations have included Berliner Philharmoniker, The Cleveland Orchestra, LA Phil, National Symphony Orchestra at The Kennedy Center, The English Concert, Balthasar Neumann Choir and Orchestra, Cincinnati May Festival, Seattle Symphony, and Philharmonia Baroque.
