Liv Redpath begins her 2017/18 season as a second year Domingo-Colburn-Stein Young Artist with LA Opera. Her mainstage work in LAO’s season includes singing L’Amour in John Neumeier’s new production of Orphée et Eurydice and Frasquita in Carmen (both under maestro James Conlon). She sings Countess Ceprano and covers Gilda in Rigoletto, and also covers Cunégonde in Candide.
Redpath’s 2016/17 season at LA Opera was a significant one: aside from making her debut in the company’s prestigious season opening, she also stepped in for Diana Damrau in performances of Olympia in Les contes d’Hoffmann under maestro Plácido Domingo. Again with maestro Domingo at the helm, Ms. Redpath appeared as a featured soloist in a gala celebration of the Domingo-Colburn-Stein Young Artist Program’s 10th anniversary. Further work included a host of collaborative projects with LA Opera Artist-in-Residence Matthew Aucoin.
Summer 2017 had Ms. Redpath as an Apprentice Artist at The Santa Fe Opera. Mainstage work there included covering the Queen of Shemakha in Paul Curran’s new production of The Golden Cockerel and scene work as Sophie in Der Rosenkavalier. Previous summers were spent singing Echo in Ariadne auf Naxos with Opera Theatre of Saint Louis, Héro in Béatrice et Bénédict at the Aspen Music Festival, and with Wolf Trap Opera.
Redpath earned her Bachelor of Arts in English from Harvard University and her Master of Music from The Juilliard School. With the latter institution, she had the eminent distinction of being a Kovner Fellow. Favorite roles at Juilliard include Thérèse in Les mamelles de Tirésias, Queen of the Night in Die Zauberflöte, and Angelo in La resurrezione (the last under maestro William Christie).
She has received awards from the Metropolitan Opera National Council Auditions, Palm Springs Opera Guild, The Loren L. Zachary Society, and the Licia Albanese Puccini Foundation. She was awarded the Novick Career Advancement Grant and the Richard F. Gold Career Grant from The Juilliard School.
Ms. Redpath’s musical versatility is evidenced by her performance of works like Matthew Aucoin’s Nosferatu (world premiere performed in LA Opera’s Off-Grand series), Schoenberg’s String Quartet No. 2 (with Juilliard’s ChamberFest), and Babbitt’s Philomel (with the Focus! Festival).