Liv Redpath

Hailed as possessing “such a radiant voice, effortless even in the highest register with breathtaking coloratura, the likes of which have not been heard for a long time” (Berliner Umschau), Liv Redpath is a leading soprano leggero who is quickly establishing herself in diverse operatic and symphonic repertoire around the world.

For the 2026/27 season, Liv 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; 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.

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 with Evan Rogister leading the Orchestra of the Age of Enlightenment 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. 

In previous seasons, Ms. Redpath made debuts with the Accademia Nazionale di Santa Cecilia as Agnès in Benjamin’s Written on Skin under the baton of Lawrence Renes and with Opera Omaha as Anne Truelove in Stravinsky's The Rake's Progress. She returned to Santa Fe Opera as Susanna in Le nozze di Figaro with Laurent Pelly directing and Harry Bicket on the podium; Bayerische Staatsoper in her signature role of Sophie in the Barrie Kosky production of Der Rosenkavalier, reuniting with conductor Vladimir Jurowski; La Monnaie/de Munt as the Waldvogel in Siegfried directed by Pierre Audi and conducted by Alain Altinoglu, where she also presented a recital and gala concert. Other orchestral engagements include the San Francisco Symphony and Seattle Symphony for Fauré's Requiem led by Kazuki Yamada; Lucerne Festival and Musikfest Berlin, performing Boulez's Le soleil des eaux and Pli selon pli with Karina Canellakis leading the Radio Filharmonisch Orkest; Kansas City Symphony for Mozart's Requiem conducted by Bernard Labadie; Danish Symphony Orchestra singing Mozart’s Great Mass in C minor under the baton of Manfred Honeck; Les Violons du Roy as soloist in Handel's Messiah with Maestro Labadie; Elbphilharmonie Hamburg with NDR Vokalensemble in Mozart's Davide penitente conducted by Klaas Stok; Radio Filharmonisch Orkest for Grieg's Peer Gynt, joining conductor Stéphane Denève; and LA Master Chorale for the North American premiere of Rufus Wainwright's Dream Requiem with Grant Gershon conducting. Additional recital appearances include the Orchestra of St. Luke's Chamber Music Series season opening at Weill Hall with music of Strauss, Grieg, and Schubert; a Pacific Palisades concert with pianist David Kaplan with music of Brahms and Copland; and her Santa Fe Chamber Music Festival debut in their season opening celebration, as well as in recital with pianist George Fu.

Other career highlights include the title role in Lucia di Lammermoor at Royal Opera House, Los Angeles Opera, Deutsche Oper Berlin, and Staaatsoper Hamburg; Sophie in Der Rosenkavalier at Bayerische Staatsoper, La Monnaie/de Munt, and Santa Fe Opera; Tytania in A Midsummer Night’s Dream at the Glyndbourne Festival and Atlanta Opera; Oscar in Un Ballo in Maschera and Pamina in The Magic Flute at the Metropolitan Opera; Zerbinetta in Ariadne auf Naxos and Zerlina in Don Giovanni at the Santa Fe Opera; Ophélie in Hamlet at Komische Oper; Woglinde in Das Rheingold at Bregenzer Festspiele; and her European debut as Marguerite de Valois in Les Huguenots at Deutsche Oper Berlin. She has also collaborated with The English Concert, London Philharmonic Orchestra, National Symphony Orchestra, Boston Philharmonic Orchestra, Festival d'Aix-en-Provence, and Edinburgh International Festival. 

Ms. Redpath has worked with conductors Yannick Nézet-Séguin, Gustavo Dudamel, Vasily Petrenko, Sir Simon Rattle, Carlo Rizzi, Alain Altinoglu, Alan Gilbert, Karina Canellakis, Fabio Biondi, Andrés Orozco-Estrada, James Gaffigan, William Christie, Daniel Harding, Emmanuel Villaume, Barbara Hannigan, Lothar Koenigs, Thomas Hengelbrock, Marie Jacquot, Giacomo Sagripanti, Lorenzo Passerini, Erina Yashima, Christophe Rousset, and Dalia Staseveska, among others. She has been featured in productions by Katie Mitchell, Sir Peter Hall, Amélie Niermeyer, Julie Taymor, Damiano Michieletto, Nadja Loschk, Johannes Erath, and Robert Carsen, and has worked with stage directors David Alden, Tim Albery, Nadja Loschky, Simon Stone, Sir David McVicar, James Robinson, Paul Curran, Ed Berkley, John Neumeier, Omer Ben Seadia, Louisa Muller, Thaddeus Strassberger, and Tomer Zvulun. 

Ms. Redpath’s wide-ranging operatic repertoire includes Hänsel und Gretel, Ariadne auf Naxos, Béatrice et Bénédict, Orphée et Eurydice, Dido and Aeneas, Cendrillon, Lakmé, Les contes d’Hoffmann, Die Fledermaus, Les mamelles de Tirésias, L'incoronazione di Poppea, The Golden Cockerel, and Candide. Other orchestral and chamber projects have included Saint-Saëns: Oratorio de Noël, Beethoven: Choral Fantasy, Missa Solemnis and Mass in C major, Haydn: Nelson Mass and Die Schöpfung, Kirchner: Songs of Ascent, Mozart: Requiem, Handel: La resurrezione, Schoenberg: String Quartet No. 2, Schubert: Mass in G, Babbitt: Philomel, Poulenc: Gloria, Bach: Magnificat and Christmas Oratorio, Vaughan-Williams: Hodie and Sea Symphony, Nielsen: Hymnus Amoris and Symphony No. 3, and Strauss: Brentano Lieder.

Ms. Redpath 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 sang the role of Crobyle in concerts of Thaïs with Toronto Symphony Orchestra conducted by Sir Andrew Davis and recorded for release on the Chandos label, subsequently winning a 2021 Juno Award for Classical Album of the Year. A graduate of Harvard University and The Juilliard School, Ms. Redpath is a former Domingo-Colburn-Stein Young Artist with the Los Angeles Opera.

Contact

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