Mezzo-soprano Kate Maroney is recognized for her rich and expressive tone, clear articulation, and intelligent musicianship. Since completing her doctorate at the Eastman School of Music in 2010, she moved to New York City, where she has quickly established a dynamic performance schedule in opera, early music, and oratorio, and is especially sought after to perform chamber music and new works by contemporary composers.
Kate is a regular member of the Holy Trinity Bach Vespers series, where she frequently appears as alto soloist, including in cantatas BWV 80, 106, 42, 33, 134, and the Magnificat (BWV 243), and Easter Oratorio (BWV 249), as well as Telemann’s Nun komm, der Heiden Heiland, Handel’s Brockes-Passion, and Brahms’ Liebeslieder Waltzes. Kate has performed as alto soloist with the Mark Morris Dance Group under Mark Morris conducting (Vivaldi Gloria and Bach Jesu, meine Freude) and premiered reconstructed BWV 216, Der Pleisse und Neisse in a concert presented by the Berkshire Bach Society under the direction of harpsichordist Kenneth Cooper. This past season, Kate performed as a concert and oratorio soloist with Vox Vocal Ensemble (The Guggenheim under George Steel), the New York Choral Society (Beethoven’s Ninth Symphony under Malcolm Merriweather and Mendelssohn’s Elijah under Julian Wachner), the Fairfield County Chorale (Mozart’s Requiem under Christine Howlett), the Master Singers of Westchester (Haydn’s Lord Nelson Mass and Mozart’s Vesperae de Dominica), Monmouth Civic Chorus and Orchestra (Handel’s Messiah and Vivaldi’s Gloria under Ryan Brandau), and with the choir of St. Luke in the Fields under David Shuler. (Kate can be heard as a soloist on “Christmas in Iberia: Music of the Spanish and Portuguese Renaissance” released on recording by St. Luke in the Fields in December 2012.) Kate has performed at the Oregon Bach Festival, the Mostly Mozart Festival, with Musica Sacra and Sacred Music in a Sacred Space, with the New York Choral Artists and New York Philharmonic Orchestra, with the American Classical Orchestra, the American Symphony Orchestra (Bard Summerscape Festival) and with TENET. Kate was a 2013 Finalist in the Oratorio Society of New York Lyndon Woodside Soloist Competition where she earned the William G. Blair Award for excellence in oratorio singing.
In addition to specializing in and advocating music from the eighteenth century and before, Kate is equally interested in performing contemporary music. Kate is currently a featured soloist (Dance 1) with the Philip Glass Ensemble under the direction of Michael Riesman in the world tour production of Robert Wilson and Philip Glass’s Einstein on the Beach, which has appeared on four continents and has included the Latin American premiere of this seminal work of the twentieth century. At this point, the tour has presented Einstein on the Beach over 45 times to sold-out houses in Ann Arbor, MI, Montpellier, France, Reggio Emilia, Italy, London, Toronto, Brooklyn (BAM), Berkeley, CA, Mexico City, Amsterdam, Hong Kong, and future tour dates include Melbourne, Australia and LA Opera among others.
Kate performed in Missy Mazzoli’s first opera, Song From the Uproar, which was produced by Beth Morrison Projects at The Kitchen, NYC. Under Steven Osgood conducting the NOW Ensemble, Kate is featured on the premiere cast recording on New Amsterdam Records, which was released in Fall 2012. With American Opera Projects, Kate has presented and recorded Semmelweis, an opera in progress, with Ray Lustig and Matt Gray. She performed and recorded with composer James Adler and oboist Virginia Brewer, Adler’s 9/11 homage Reflections upon a September morn, which was released on Albany Records in 2011. Kate recently performed an evening of Lisa Bielawa’s vocal music at John Zorn’s venue, The Stone. Kate performed Eric Lemmon’s Love Songs in a performance staged by R. B. Schlather, in conjunction with Brooklyn-based theater collective Wingspace Theatrical Design. In May 2013, Kate will premiere Brooklyn Art Song Society’s first commissioned piece by composer Marie Incontrera: Quagmires and the Known Knowns.
Kate made her international debut in Milan in 2006, with the Orchestra Sinfonica Milano di Guiseppe Verdi, under Giuseppe Grazzioli (Hermia in Britten’s A Midsummer Night’ Dream). Other past projects include a recital programmed by Paul O’Dette and presented in Naples, Florida, in Rochester, NY, and at the Boston Early Music Festival in June 2009. Kate returned to BEMF as a guest artist for a fringe recital with lutenist Dieter Hennings in 2011, and repeated the recital of Monteverdi and Strozzi as a guest artist with Kentucky Baroque in Lexington and Louisville, Kentucky. In Rochester, Kate appeared with Mercury Opera as the Mother in Amahl and the Night Visitors under Benton Hess and with the Rochester Philharmonic Orchestra and Empire State Lyric Theater under Raffaele Ponti, singing Gianetta in L’elisir d’amore. Other opera credits include Dido with Eastman Collegium under Paul O’Dette; Prince Orlofsky, Carmen, and Dorabella at Quisisana on Lake Kezar, Maine; Hänsel with Purchase Opera; various roles at Yale Opera; and Desirée Armfeldt with the Eastman Opera Theater.
In the chamber chorale world, Kate has gained broad experience, performing frequently in Rochester with “Voices,” a professional chamber choir founded by Dr. William Weinert, singing as alto soloist in Schütz’s Musikalische Exequien, Charpentier’s Reniement de St. Pierre, and a concert of the complete J. S. Bach motets, to name just a few programs, among many Baroque and Renaissance gems. Kate is a member of the newly formed professional choral group Yale Choral Artists, under the direction of Jeffrey Douma, the all-treble Etherea Vocal Ensemble, under the direction of Derek Greten-Harrison, and Manhattan Concert Chorale under Craig Arnold. Kate has appeared the alto soloist in Bach’s B-Minor Mass, Mozart’s Vespers, Handel’s Messiah and Dixit Dominus, and Vivaldi’s Gloria with the MasterWorks Chorale in Syracuse, Prokofiev’s Alexander Nevsky and Adams’ Grand Pianola Music with Musica Nova, under Brad Lubman. Kate can be heard with pianist Christina Yue performing Webern’s “Dies ist ein Lied” on W.W. Norton’s recorded musical anthology The Musician’s Guide to Theory and Analysis.
When not singing, Kate enjoys editing, pedagogy and musicology research work, and published an article entitled “Reflections from the Beach: Einstein on the Voice” in the Nov./Dec. 2012 volume of NYSTA (New York Singing Teacher’s Association) journal VOICEPrints. It deals with the unique pedagogical demands of singing Einstein while on tour and what the process of learning and memorizing the piece was like. Kate recently joined the voice faculty at Nassau Community College. She has freelanced at W. W. Norton under Maribeth Payne, where she helped to edit the fourth edition of Barbara Hanning’s Concise History of Western Music, the sixth edition of the Norton Anthology of Western Music, and Musician’s Guide to Fundamentals. Kate did independent editing work with Dr. Jeffrey Langford at Manhattan School of Music on his recently published Evenings at the Opera (Amadeus Press). Kate’s 2009 lecture recital; Proses lyriques of Claude Debussy: The Influence of the Symbolist Aesthetic and Evocation of the Senses through Poetic-Musical Implication, presented under the guidance of Dr. Marie Rolf with pianist Richard Masters, was a finalist for the Eastman D.M.A. Lecture Recital Prize. In addition to her doctorate, Kate holds degrees in music performance from SUNY Purchase as well as the Yale School of Music, and is a member of AGMA. She resides in Brooklyn with her boyfriend, multi-faceted musician, composer, and improvisor, Red Wierenga, and their two cats, Misha and Ayler.