Marguerite Krull, soprano

Mango Baroque Chamber Ensemble
“Saint/Sinner: In Her Own Words and Music”
Italian music from 1650 to 1720 by women: Barbara Strozzi, Chiara Margarita Cozzolani, and Isabella Leonarda

“Marguerite Krull – a regular star of bel canto evenings at Caramoor – was superb, her embellishments skillfully and beautifully worked into the line to create long phrases of perfect naturalness. Her sound had been pure before; now it had a silvery delicacy.” –Paul Griffiths, Andante.com

Possessed of keen musical intelligence and a vocal range from high lyric mezzo-soprano to soprano, Marguerite Krull is passionate about bringing to life new works and works that have been forgotten or neglected. Excursions in this vein include Calliope in Handel’s Alceste with the American Classical Orchestra; Énone in Charpentier’s La descente d’Orphee aux enfers with Gotham Opera; Alix in Gretry’s 18th-century opera comique Le Magnifique with Ryan Brown and Opera Lafayette (recorded for Naxos); and the extended soprano solos in the première of Elena Ruehr’s cantata Averno with Julian Wachner and The Washington Chorus (D.C.) and Trinity Choir (NY), recorded on the Avie Label. She also created the role of Peggy in Paul Crabtree’s Ghost Train, which had its première at the Carolina Chamber Music Festival.

Marguerite has sung with numerous companies across the globe. She has embraced an unusually varied list of roles including Emilia in Handel’s Flavio and the title role in L’enfant et les sortilèges with New York City Opera; Belle in Philip Glass’s La belle et la bête with the Oakland Opera; the title role of Martín y Soler’s La capricciosa corretta, performed in Lausanne, Bordeaux, and Madrid and also recorded for the Naïve/Naxos label; the title role in Melani’s L’empio punito, the earliest operatic treatment of the Don Juan legend, with Opera Leipzig; and eight different Rossini heroines, including four with the Caramoor International Music Festival: Rosina in Il barbiere di Siviglia, Ninetta in La gazza ladra, the title role of La donna del lago, and Desdemona in Otello.

Other performances of note include a last-minute engagement with La Monnaie in Brussels, Belgium in the title role in Rossini’s Elisabetta, regina d’Inghilterra, which she also sang in her debut at Argentina’s Teatro Colón; a return to the Teatro Colón in Bogotá, Colombia as Donna Elvira in Don Giovanni; and a performance with Philadelphia’sTempesta di Mare of Handel’s “Tra le Fiamme,” which The Philadelphia Inquirer called “especially superb.” Her debut with the Chicago Lyric Opera, as Cherubino in Mozart’s La nozze di Figaro, was called “the big news” of the evening by John von Rhein of the Chicago Tribune.

From the Italian Academy at Columbia University.