ROSSINI “Assisa a’pie d’un salice” (Willow Song) from Otello
MOZART “Laudamus te” from Mass in C Minor
Leonarda Cara Regina performed by Mango Baroque
KREBS “Schlage bald” from Jesu, meine Freude with Brooklyn Baroque
Isabella Leonarda “Cara Regina” from Motteti a voce sola
Possessed of keen musical intelligence and a vocal range from high lyric mezzo-soprano to soprano, Marguerite Krull is at home performing music from the Baroque to the brand new. Among her great passions as an artist is to bring to life works that have never been performed before or that have been forgotten or neglected. Some excursions into the unfamiliar include premiere performances in New York and Washington, D.C. of Elena Ruehr’s cantata Averno based on texts by Louise Glück (also released on the Avie label); Alice Parker’s Songs for Eve with Julian Wachner and Novus New York; Alix in Gretry’s 18th-century opéra-comique Le Magnifique with Ryan Brown and Opera Lafayette (recorded for Naxos); and a Leipzig debut in the title role of Melani’s L’empio punito, the earliest operatic treatment of the Don Juan legend. Marguerite created the role of Peggy in the Carolina Chamber Music Festival premiere of Paul Crabtree’s Ghost Train.
With her probing musical curiosity she has embraced an unusually varied list of roles from Emilia in Handel’s Flavio, with New York City Opera, to Belle in Philip Glass’s La belle et la bête with the Oakland Opera, and the title role of Martín y Soler’s La capricciosa corretta, performed in Lausanne, Bordeaux, and Madrid and recorded for the Naïve/Naxos label. She has appeared with Opera Lafayette in Vivaldi’s oft-forgotten masterpiece Catone in Utica in the role of Arbace and with Mark Morris Dance Group in their Midwestern spring tour of Purcell’s Dido and Aeneas. Marguerite has enjoyed a special relationship with the Caramoor International Music Festival where she has performed four Rossini heroines: Rosina in Il barbiere di Siviglia, Ninetta in La gazza ladra, the title role of La donna del lago, and Desdemona in Rossini’s Otello.
Marguerite’s career highlights include a last-minute engagement with La Monnaie in Brussels 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 Tempesta di Mare, of Handel’s Tra le Fiamme, which The Philadelphia Inquirer called “especially superb.” Her Chicago Lyric Opera debut 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.
Marguerite’s dramatic flair and musical sensibility have earned plaudits from the critics, who praise her “strong, affecting stage presence” (Janos Gereben, Oakland Tribune) and “rich, rosy sound and lyrical sensitivity” (Anthony Tommasini, New York Times). She has been lauded for the ease with which she moves from the comedic to the deeply dramatic. Her Despina in Mozart’s Così fan Tutte for Washington National Opera, was marked by a “masterful blend of cynicism and frivolity,” according to the Washington Post; her Child in the National Symphony’s semi-staged production of L’enfant et les sortileges — a role she also performed to great acclaim at the New York City Opera — conveyed “all the sulky body language of a spoiled kid” (The Baltimore Sun); and her Sesto in Handel’s Giulio Cesare at the Washington National Opera was “fully limned into a convincingly adolescent spark plug, bubbling with Oedipal desires and steeled to the purpose of revenge” (Philip Kennicott, The Washington Post). Her intensive training, as both a pianist and a singer, has been praised by the critics who have commented on “her embellishments skillfully and beautifully worked into the line” (Paul Griffiths, andante.com) and “superbly detailed phrasing” (Tim Smith, The Baltimore Sun).
On the concert stage she has sung varied repertoire, including Harbison’s Mirabai Songs with the New York Philharmonic, the Mozart Requiem at Carnegie Hall and with the Orlando Philharmonic, Bach’s St. Matthew Passion at the Brooklyn Academy of Music in Jonathan Miller’s acclaimed staged production, Bach’s Magnificat and Mass in B Minor with the Bethlehem Bach Choir, Mozart’s Mass in C Minor with the Buffalo Philharmonic, Mozart’s Exultate, jubilate and Mahler’s Fourth Symphony with the Peoria Symphony, Pergolesi’s La morte di San Giuseppe with the New York Collegium, Carissimi’s Jepthe with the American Bach Soloists, Handel’s Alceste with American Classical Orchestra and Bach’s Easter Oratorio with St. Thomas Choir.
Marguerite is a recipient of the prestigious Marian Anderson Foundation Award, an honor given in alternate years to “an American singer of great promise who has already achieved some success in opera, in recital, and in the orchestra/oratorio repertory.” A native of Ann Arbor, Michigan, Marguerite holds a bachelor of music degree in Piano Performance from the Peabody Conservatory and a master’s in Voice Performance from the State University of New York at Stony Brook. She and her husband, Mark, are avid swing dancers.