| MARGUERITE KRULL (soprano)
began the 2003-2004 season with a critically acclaimed Lyric
Opera of Chicago debut as Cherubino. Calling her "a remarkably
stylish musician," John von Rhein of the Chicago Tribune dubbed
her performance "the big news" of the evening. She went
on to make a debut with the National Symphony Orchestra and
Leonard Slatkin, as the title role in a semi-staged version
of Ravel's L'enfant et les sortilèges, of which Baltimore
Sun said "Her warm, flexible voice and superbly detailed
phrasing had a disarming impact." Miss Krull's 2002-03
season began with debuts in Lausanne, Bordeaux and Madrid
as the title role of Martin y Soler's La Capricciosa
Corretta, a role she then recorded for the Naïve/Naxos
record label, with Christophe Rousset and Les Talens Lyriques,
released Spring, 2004. She continued the season with
a debut in Leipzig as the title role of Melani's L'Empio
Punito, the first operatic treatment of the Don Juan
story. Her 2001-2002 season saw returns to Washington
Opera as Despina in Così fan tutte and
Baltimore Opera as Pamina in Die Zauberflöte. In
the summer of that season, she returned to the Caramoor International
Musical Festival to sing Desdemona in Rossini's Otello,
her Willow Song being hailed by Opera News as "the
most finely shaded and shaped singing of the evening, for
which the audience rewarded her with the highest compliment:
awed silence." Miss Krull's
2000-2001 season began with a Berkshire Opera debut as Giulietta
in I Capuleti e i Montecchi, praised
by the press as "ethereal, an ideal stage picture of
the emotionally vulnerable teenager, there was an affecting
poignancy in her secure singing; and she possesses the requisite
trills and coloratura facility to create vocal fireworks." She
then returned to New York City Opera in Le Nozze di
Figaro as Cherubino and was hailed by the Dallas
Morning News as "a brilliant standout." Other
debuts that season included Austin Lyric Opera as Micaela
in Carmen, and a Carnegie Hall debut
as the soprano soloist in the Mozart Requiem. In
1999, Ms. Krull made a critically acclaimed South American
debut as Marie in La Fille du régiment at
the Teatro Colón in Bogotá, after which she
was immediately asked to step into the role of Oscar in Un
Ballo in maschera, with only a week to learn the
role, and was praised for her performance by press and public
alike. In that same season, she made her Baltimore
Opera debut in a soprano version of the title role of La
Cenerentola, and returned to Washington Opera
as Sesto in Giulio Cesare. Other
recent engagements of note have been her New York City Opera
debut in the title role of L'enfant et les sortilèges; Ninetta
in La Gazza ladra and a recital with
pianist Garrick Ohlsson, both at Caramoor; a United Kingdom
debut as Fiorilla in Il Turco in Italia with
Broomhill Opera; Don Ramiro in La Finta Giardiniera at
both Washington Opera and Glimmerglass Opera and Sesto in Giulio
Cesare with the Boston Handel and Haydn Society under
the baton of Christopher Hogwood. On the concert and
oratorio stage she has sung a varied number of works, including
Harbison's Mirabei Songs with the New
York Philharmonic, Barber's Knoxville, Summer
of 1915 with Richmond Symphony (IN), Bach's St.
Matthew Passion at the Brooklyn Academy of Music
(staged by Jonathan Miller), Bach's Magnificat and B
Minor Mass with the Bethlehem Bach Choir, Mozart's Mass
in C Minor with the Buffalo Philharmonic, the Mozart Requiem with
the Orlando Philharmonic, Mozart's Exultate,
jubilate and Mahler's Fourth Symphony with
Peoria Symphony, and Pergolesi's La Morte di San Giuseppe with
the New York Collegium.
Other conductors
with whom Ms. Krull has collaborated include Patrick Summers,
Sir Andrew Davis, Heinz Fricke, Jane Glover, George Manahan,
Stewart Robertson, Fabio Biondi, Will Crutchfield, Karen
Keltner and Bernard Labadie. She has worked with with
stage directors such as Jonathan Miller, Mark Lamos, Simon
Callow, Sir Peter Hall, Michael Hampe, Frank Corsaro, Dona
D. Vaughn, Dorothy Danner, and David Gately. A 2000
winner of the Sullivan Foundation Awards, Ms. Krull was also
the 1997 recipient of the prestigious Marian Anderson Foundation
Award. She is a recipient of the Richard R. Gold Career
Grant and has been spotlighted twice in Opera News's "Keep
your eye on" column. A native of Ann
Arbor, Michigan, Ms. Krull received her Bachelor of Music
degree in Piano Performance from Peabody Conservatory and
her Masters degree in Voice Performance from the State University
of New York at Stony Brook.
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