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Saturday, July 27, 5:00 PM at St. Francis Auditorium
Music from the Time of Goya

Noted for her radiant, crystalline voice and superb musicianship, soprano Christine Brandes brings her committed artistry to repertoire ranging from the 17^th century to newly composed works and enjoys an active career in North America and abroad, performing at many of the world’s most distinguished festivals and concert series in programs spanning recitals and chamber music to oratorio and opera.

Highlights of Christine Brandes’s 2012-13 season include a series of important premieres, including an Eric Moe commission entitled Of Color Braided All Desire with the Brentano String Quartet as part of the South Mountain Concert Series, and Jennifer Higdon’s In the Shadow of Sirius based on poetry of former American Poet Laureate W.S. Merwin with the Cypress String Quartet, receiving its world premiere at the Herbst Theatre in San Francisco.  Other engagements of the season include Haydn’s The Creation with the New York Virtuoso Singers and Orchestra of St. Luke’s, conducted by Harold Rosenbaum, and Mozart’s Requiem with the New Jersey Symphony.

Christine Brandes’s 2011-12 season included a return to the Washington National Opera as Despina in Così fan tutte, conducted by Philippe Auguin, as well as a debut with Arizona Opera as the title role in Gluck’s Orfeo ed Euridice, conducted by Joel Revzen.  Symphony highlights included Handel’s L’Allegro, il Penseroso ed il moderato with the Mark Morris Dance Group at the Kennedy Center, conducted by Jane Glover, Haydn’s The Creation with the Oregon Symphony, conducted by Carlos Kalmar, and Messiah with the United States Naval Academy in Annapolis, Maryland.

During recent seasons, Ms. Brandes made her Washington National Opera debut as Catherine in William Bolcom’s A View from the Bridge and made returns to Portland Opera as Despina in Così  fan tutte, Central City Opera as Maria Corona in Gian Carlo Menotti’s The Saint of Bleecker Street, and Seattle Opera as Pamina in Mozart’s Die Zauberflöte under the baton of Gary Thor Wedow in a new production directed by Chris Alexander.  She also bowed at the Lyric Opera of Kansas City as Cleopatra in Giulio Cesare and The Governess in The Turn of the Screw.

Recent symphonic appearances also have included concerts with the Chicago Symphony Orchestra under the batons of both Pierre Boulez and Esa-Pekka Salonen, performances of John Adams’s El Niño with the Tokyo Symphony Orchestra, Mendelssohn’s Elijah with Michael Christie and the Phoenix Symphony, St. John Passion with Robert Spano and the Atlanta Symphony Orchestra, L’Enfant et les Sortilèges with Sir Simon Rattle and the Los Angeles Philharmonic, Mozart’s Requiem with the Cleveland Orchestra and John Nelson, Vivaldi’s Gloria with the Los Angeles Philharmonic at the Hollywood Bowl, conducted by Grant Gershon, Handel’s L’Allegro with the Orchestra of St. Luke’s and Jane Glover at the Mostly Mozart Festival of Lincoln Center, Mahler’s Symphony No. 2 with Rafael Frübeck de Burgos , Beethoven’s Egmont with Wolfgang Sawallisch and Schumann’s Das Paradies und die Peri with Sir Simon Rattle, both with the Philadelphia Orchestra, Mozart opera arias and Strauss orchestral songs with the National Symphony Orchestra and Heinz Fricke, Bach Cantatas with the New World Symphony Orchestra, a recording and European tour of Jomelli’s Ezio with world renowned baroque orchestra Il Complesso Barocco under the baton of Alan Curtis, Handel’s Messiah with the Toronto Symphony, the New York Philharmonic, Tafelmusik, and the Minnesota Orchestra, Carmina Burana with the Houston Symphony, Bach’s St. Matthew Passion with Jane Glover and the Music of the Baroque, Haydn’s Mass in the Time of War with Bernard Labadie and the San Francisco Symphony Orchestra, Pergolesi’s Stabat Mater with Neeme Järvi and the Detroit Symphony, and Barber’s Knoxville: Summer of 1915, and Mahler’s Symphony No. 4 with Andreas Delfs and the Milwaukee Symphony, the Canton Symphony, and paired with Berg’s Lulu Suite with the Santa Rosa Symphony.  She also has bowed at Lincoln Center’s Mostly Mozart Festival and the Ravinia Festival with the Philharmonia Baroque Orchestra, as well as the Orpheus Chamber Orchestra, Ensemble Orchestral de Paris, Chamber Music Society of Lincoln Center, Freiburger Barockorchester, Handel & Haydn Society, Pacific Symphony, and Arion Baroque Orchestra in Montreal, as well as a residency with the Oregon Bach Festival with performances of several Bach Cantatas and semi-staged version of Honegger’s Jeanne d’Arc under the batons of Helmuth Rilling and Marin Alsop respectively, among others.

Christine Brandes’s operatic career has been highlighted by engagements at Houston Grand Opera in Ariodante with Christopher Hogwood and Falstaff with Patrick Summers, Seattle Opera in Giulio Cesare, and the Los Angeles Opera in L’Incoronazione di Poppea with Harry Bicket and Hänsel und Gretel with Alan Gilbert.  Additional performances of the artist’s distinguished career have brought her to San Diego Opera in Ariodante, Central City Opera in L’Incoronazione di Poppea, Lisbon’s Gulbenkian Foundation in Così fan tutte, Opera Theatre of St. Louis in Cimarosa’s The Secret Marriage, Portland Opera in Così fan tutte, Glimmerglass Opera both in Handel’s Orlando and Acis and Galatea, San Francisco Opera in Semele under the baton of Sir Charles Mackerras, the Opéra de Nancy in Alcina, New York City Opera in Acis and Galatea and Platée, and the Opera Company of Philadelphia in Die Zauberflöte, L’Elisir d’amore, and Don Giovanni.  Ms. Brandes has performed Le nozze di Figaro with New York City Opera, Seattle Opera, Opera Pacific, and the opera companies of Minnesota, Montreal, Philadelphia, and Quebec.

Christine Brandes has recorded for EMI, BMG/Conifer Classics, Dorian, Harmonia Mundi USA, Virgin Classics, and Koch International.