Soprano Sherezade Panthaki’s international success in music of the Baroque and beyond has been fueled by superbly honed musicianship; “astonishing coloratura with radiant top notes” (Calgary Herald); “a full, luxuriously toned upper range” (The Los Angeles Times), and passionately informed interpretations, “mining deep emotion from the subtle shaping of the lines” (The New York Times). An acknowledged star in the early-music field, Ms. Panthaki enjoys ongoing collaborations with many of the world’s leading interpreters including Nicholas McGegan, Masaaki Suzuki, Mark Morris, Nicholas Kraemer, Matthew Halls, Paul Agnew, and Lawrence Cummings. This season marks return appearances with Philharmonia Baroque Orchestra, Bach Collegium Japan, Tafelmusik Baroque Orchestra, The Boston Early Music Festival, The San Francisco Early Music Festival, Houston Symphony Orchestra, Music of the Baroque (Chicago), Calgary Philharmonic Orchestra, as well as new engagements with the Minnesota Orchestra, the Detroit Symphony Orchestra, and Musica Angelica (Los Angeles). Ms. Panthaki has ongoing national and international solo appearances in various programs throughout the year with the New York City-based Parthenia Viol Consort. Her 2019 debut performances of Handel’s Samson with the NDR Radiophilharmonie in Hannover, Germany, elicited the review “With her exuberant virtuosity, with her elegance and powerful radiance, Panthaki is a new, trailblazing type among the female singers of old music — she is a highly dramatic soprano of the Baroque, an “Isolde” in one of Handel’s oratorios. When she sings, it is not simply an aria; it is an event” (Hannoversche Allgemeine).
Notable performances from past seasons include Vivaldi opera and oratorio arias with the Los Angeles Philharmonic at the Hollywood Bowl, as well as with the St. Louis Symphony Orchestra; Handel’s Messiah with Bach Collegium Japan, the National Symphony Orchestra, National Arts Orchestra at the Kennedy Center, Kansas City Symphony, and numerous others; a US tour of Bach’s Christmas Oratorio with Bach Collegium Japan; Handel’s Atalanta, Ode for St. Cecilia’s Day, Joseph and his Brethren, and “Italian Baroque Music from the Jewish Ghetto” with Philharmonia Baroque Orchestra; the title role in the Boston Early Music Festival’s concert performances of Handel’s Almira; the role of Belinda in Purcell’s Dido and Aeneas, Handel’s L’allegro, il Penseroso ed il Moderato, and the role of Galatea in Acis and Galatea with the Mark Morris Dance Company; Bach’s Mass in B Minor and Magnificat at the Oregon Bach Festival; a staged production of Rameau’s Les Indes Galantes at the Metropolitan Museum of Art with Opera Lafayette; Vivaldi solo works with the Orchestra of St. Luke’s at New York’s Central Park outdoor Naumberg Orchestral Concert Series; Mozart’s Grand Mass in C minor and Bach’s St. John Passion with the Spoleto Festival USA Orchestra, Haydn’s opera L’isola disabitata with the American Classical Orchestra, Beethoven’s Ninth Symphony with the Orlando Philharmonic, Bach’s St. Matthew Passion and St. John Passion with John Scott and the St. Thomas Choir of Men and Boys; Handel’s Solomon with the Radio Kamer Filharmonie (Holland); and Handel’s Saul with the Tafelmusik Baroque Orchestra in Toronto.
Firmly at home in the numerous Baroque oratorios, operas, and cantatas of Handel, Bach, Vivaldi, Purcell, and Monteverdi, Ms. Panthaki is no stranger to 19th, 20th and 21st century concert repertoire as soprano soloist. She is widely acclaimed for her interpretations of Brahms’ Requiem, Orff’s Carmina burana, and Poulenc’s Gloria; notable among her new music premieres is the soprano role of Emily Dickinson in Martin Bresnick’s oratorio Passions of Bloom. She will appear as the soprano soloist in Mendelssohn’s Elijah, to celebrate the trailblazing career of conductor Marguerite Brooks, at Yale University.