"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
The 2024/25 season closes with Ms. Redpath’s debut as Agnès in George Benjamin’s Written on Skin with the Orchestra dell’Accademia Nazionale di Santa Cecilia, a return to Santa Fe Opera as Susanna in Le nozze di Figaro with Harry Bicket and Laurent Pelly, and the opening night of the Santa Fe Chamber Music Festival.
In 2025/26, she debuts as Konstanze in Die Entführung aus dem Serail at the Glyndebourne Festival, returns to Staatsoper Hamburg as Pamina in Die Zauberflöte, and debuts in Madrid at Teatro Real as Tytania in a new production of A Midsummer Night’s Dream by Deborah Warner.
In concert, Ms. Redpath will debut at the Lucerne Festival and Musikfest Berlin with Karina Canellakis and Radio Filharmonish Orkest in Boulez’ Le soleil des eaux and Don from Pli selon pli, with Orchestra Sinfonica Nazionale della RAI for Hans Abrahamson’s Let me tell you with Thomas Dausgaard, and at the Salzburg Easter Festival with Kirill Petrenko and Berliner Philharmoniker in Mahler’s Symphony No. 8 – a piece she will also return to sing with Fabio Luisi and the Danish National Symphony. She returns to the LA Phil with Esa-Pekka Salonen to collaborate on Debussy’s La damoiselle élue and to Orchestra of St. Luke’s for Beethoven’s Symphony No. 9 with Raphaël Pichon. She will join San Diego Symphony and Rafael Payare for L’enfant et les sortilèges and, later, Barcelona Symphony and Ludovic Morlot for the same title in concerts and a recording to be released for the Auditori’s Ravel Collection. Liv will sing Handel’s Messiah with Bernard Labadie and The Cleveland Orchestra, Dinis Sousa and St. Paul Chamber Orchestra, and Jeffrey Thomas and American Bach Soloists. She also debuts with Alex Amsel and the Phoenix Symphony for a program of Mozart’s Exultate Jubilate and Mahler’s Symphony No. 4 and looks forward to recitals in New York and London with Harry Rylance.
UPCOMING
The 2024/25 season brings more role debuts, many orchestral collaborations, and a healthy smattering of recital and chamber projects for Ms. Redpath. She will debut as Agnès in George Benjamin’s Written on Skin with the Orchestra dell’Accademia Nazionale di Santa Cecilia with the composer on the podium, return to Santa Fe Opera as Susanna in Le nozze di Figaro with Harry Bicket and Laurent Pelly, return to Bayerische Staatsoper as Sophie in Barrie Kosky’s stunning Der Rosenkavalier under the baton of Vladimir Jurowski, debut as Anne Truelove in The Rake’s Progress with Opera Omaha in the storied David Hockney production, and join La Monnaie / de Munt as the Waldvogel in Pierre Audi’s new Siegfried with Alain Altinoglu.
In concert, Ms. Redpath will join The National Danish Symphony Orchestra and Manfred Honeck for Mozart: Mass in C Minor; Orchestre Philharmonique de Radio France and George Benjamin for Debussy: La Damoiselle élue; Bernard Labadie for Handel: Messiah with Les Violons du Roy and Mozart: Requiem with Kansas City Symphony; Radio Filharmonisch Orkest and Stéphene Denève for Grieg: Peer Gynt; Kazuki Yamada for Fauré: Requiem with San Francisco and Seattle Symphonies; and L.A. Master Chorale and Grant Gershon for the American premiere of Rufus Wainwright’s Dream Requiem.
On the recital stage she will join Orchestra of St. Luke’s at Carnegie’s Weill Hall for Fauré’s string quintet arrangement of La bonne chanson and Schubert’s Dem Hirt auf dem Felsen, will present a dramatic recital of Wolf and Schumann with Samuel Hasselhorn at La Monnaie / de Munt in conjunction with their Siegfried, will open the Santa Fe Chamber Music Festival, and will join pianist David Kaplan for Copland’s Songs of Emily Dickinson for St. Matthew’s Music Guild in Los Angeles.
aBOUT
Liv Redpath is a young leading soprano leggero on opera and concert stages around the world.
Thus far in the 2024/25 season, Ms. Redpath has returned to Bayerische Staatsoper as Sophie in Barrie Kosky’s stunning Der Rosenkavalier under the baton of Vladimir Jurowski, debuted as Anne Truelove in The Rake’s Progress with Opera Omaha in the storied David Hockney production, and joined La Monnaie / de Munt’s ring cycle as the Waldvogel in Pierre Audi’s new Siegfried with Alain Altinoglu.
In concert, she joined The National Danish Symphony Orchestra and Manfred Honeck for Mozart: Mass in C Minor; Bernard Labadie for Handel: Messiah with Les Violons du Roy and Mozart: Requiem with Kansas City Symphony; Radio Filharmonisch Orkest and Stéphene Denève for Grieg: Peer Gynt; Kazuki Yamada for Fauré: Requiem with San Francisco and Seattle Symphonies; NDR Vokalensemble, Klaas Stok, and Kammerakademie Potsdam for Mozart: Davide penitente at the Elbphilharmonie; Ilya Ram and Chattanooga Symphony for Poulenc: Gloria and Barber’s Knoxville: Summer of 1915; and L.A. Master Chorale and Grant Gershon for the American premiere of Rufus Wainwright’s Dream Requiem.
On the recital stage she joined Orchestra of St. Luke’s at Carnegie’s Weill Hall for Fauré’s string quintet arrangement of La bonne chanson and Schubert’s Dem Hirt auf dem Felsen and presented a dramatic recital of Wolf and Schumann with Samuel Hasselhorn at La Monnaie / de Munt in conjunction with their Siegfried.
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; and her 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. In 2023/24, Ms. Redpath debuted at Royal Opera House and Staatsoper Hamburg as Lucia di Lammermoor and at The Metropolitan Opera as Oscar in Un ballo in maschera and Pamina in The Magic Flute. She reprised Tytania in A Midsummer Night’s Dream for The Atlanta Opera and spent the summer with The Santa Fe Opera as Zerlina in Don Giovanni and Sophie in Der Rosenkavalier.
Ms. Redpath enjoyed concert collaborations with Kirill Petrenko and Berliner Philharmoniker on Schoenberg: Die Jakobsleiter, Harry Bicket and The English Concert on L’incorinazione di Poppea, Bernard Labadie and Orchestra of St. Luke’s on Bach’s Christmas Oratorio, Daniel Harding and The Cleveland Orchestra on Mahler’s 4th Symphony, Federico Cortese and Harvard Radcliffe Orchestra on Strauss’ Brentano Lieder, François López-Ferrer and the Cincinnati Symphony Orchestra on Fauré’s Requiem, as well as concerts at Wigmore Hall and The Church in Sag Harbor.
