Photo: Kelly Blackmon
HANDEL “Rejoice Greatly” from Messiah with Bach Collegium San Diego
GOLIJOV Lua Descolorida with A Far Cry
GOLIJOV How Slow the Wind with A Far Cry
HANDEL “Rejoice Greatly”and “Come Unto Him” from Messiah with TENET & The Sebastians
MARGOT ROOD, hailed for her “colorful and vital” singing by The Washington Post, performs a wide range of repertoire.
The 2019/2020 season marks her debuts with Toronto’s Tafelmusik Baroque Orchestra (Messiah), Edinburgh’s Dunedin Consort (St. Matthew Passion), South Florida’s Enlightenment Festival (BWV 202 & 211), and Washington Bach Consort (BWV 106 &198). Recent and upcoming solo appearances include those with Cleveland Orchestra (Stravinsky Threni), Boston Symphony (Benjamin Dream of the Song), Rhode Island Philharmonic (Messiah), Philharmonia Baroque (BWV 61 & 140), New Jersey Symphony (Messiah), Charlotte Symphony Orchestra (Mozart Requiem), New World Symphony (Reich Desert Music), Handel + Haydn Society (The Fairy Queen, Mass in B Minor), TENET Vocal Artists (Messiah, Praetorius Vespers), Seraphic Fire (Messiah, Vivaldi Gloria), Bach Collegium San Diego (Messiah), A Far Cry (Golijov Three Songs), and numerous concerts with acclaimed ensemble Blue Heron. Margot is a former Lorraine Hunt Lieberson Fellow at Emmanuel Music, where she is often featured on Emmanuel’s nationally-known Bach cantata series. Margot made her solo debut at Boston’s Symphony Hall in 2011 and since then has been a frequent soloist with Handel + Haydn Society.
Margot’s recent and upcoming opera appearances include La Renommée in Lalande’s Les Fontaines de Versailles and Oreste Nunzia in Francesca Caccini’s Alcina with Boston Early Music Festival, Galatea in Acis & Galatea and First Witch in Dido & Aeneas with Handel + Haydn Society, Polly Peachum in The Beggar’s Opera and Hyacinthus in Mozart’s Apollo et Hyacinthus with Emmanuel Music, Amor in Gluck’s Orfeo ed Euridice with Grand Harmonie, and Johanna in Sweeney Todd with St. Petersburg Opera.
Notable recording releases include the role of La Paix in Charpentier’s Les Arts Florissants with Boston Early Music Festival (CPO), and the role of Emily Webb on Monadnock Music’s recording of Ned Rorem’s Our Town (New World Records). She has recorded repertoire from the medieval to the 21st-century with Coro, Albany Records, Blue Heron, BMOP Sound, Toccata Classics, and Sono Luminus. Her solo recording with composer Heather Gilligan, Living in Light, is now available. She can be heard on Blue Heron’s Music from the Peterhouse Partbooks Vol. 5, which won the Gramophone Award for Early Music in 2018.
Margot is a recent recipient of the St. Botolph Club Foundation‘s Emerging Artist Award for her work in new music. She made her Carnegie Hall debut in the world premiere of Shawn Jaeger’s Letters Made with Gold. From 2010-2018 Margot was a core member of Boston’s Lorelei Ensemble, an all-female vocal ensemble dedicated to the performance of new music. Margot holds degrees from the University of Michigan and McGill University.
Margot belongs to Beyond Artists, a coalition of artists that donates a percentage of concert fees to non-profit organizations. She supports My Sister’s Place, an institution that provides resources to domestic violence survivors, through her performances.