6 Lieder nach Gedichten von Georg Trakl, Op. 14 by Anton Webern
Kristina Bachrach is represented by
Moon Songs by Shul...
Musicians from Marlboro Tour, 2021
Chamber Music Conc...
Nexus Chamber Ensemble, 2020
The Dichter Projec...
Brooklyn Art song Society, 2021
David Ludwig's Son...
Tour of North Carolina, 2020
Schubert: Der Hirt...
Brooklyn Art Song Society, 2021
Tour of Japan
Favorite Italian Opera ...
Avos Piano Quartet, 2020
Bolcom's Let Eveni...
Musicians from Marlboro Tour, 2020
Viva Voce: The Voc...
Haverford College, 2020
Fresh off of her Carnegie Hall debut, soprano Kristina Bachrach continues to distinguish herself as a dynamic artist, capable of tackling a vast array of repertoire. In recent seasons she made her Off-Broadway debut, co-starring in a 39-show run of Because I Could Not Stop: An Encounter with Emily Dickinson with the Ensemble for the Romantic Century, and had international concert debuts in Japan and Italy. On the operatic stage, Ms. Bachrach’s roles include Susanna in Le nozze di Figaro, Musetta in La bohème, La Princesse in L'enfant et les sortilèges, and Clorinda in La Cenerentola, gracing the main stage with Opera Philadelphia, Nashville Opera, Opera Naples, and Gotham Chamber Opera among others. She appeared in the New York premiere of To Be Sung by Pascal Dusapin with the Center of Contemporary Opera, and created the role of Lucinda in the world premiere of Dark Sisters by Nico Muhly. A concert veteran, Ms. Bachrach has been featured in nearly one hundred recitals of art song and chamber music across the country and around the world. Her training includes residencies with the Marlboro Music Festival, Tanglewood, Yellow Barn, and the Banff Centre. She is a Grand Prize winner of the Artist Presentation Society of St. Louis Competition, the Ziering Conlon International Art Song Competition, and American Prize in Vocal Performance.
These two reveries framed de Falla’s languid “Psyché,” sung with precise diction and focused tone by the soprano Kristina Bachrach. Ms. Bachrach was passionate yet lucid in her contributions to the Schoenberg, rising to visionary fervor.
— The New York Times
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