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photo: Lisa Kohler |
American soprano Judith Pannill continues to be hailed by critics and audiences throughout the world for the "luminous quality of her voice" and for her "impeccable musicianship." Upcoming performance highlights will include appearances as guest soloist with New York's Voices of Ascension in Bach's St. John Passion (Mar '03) and with the Eugene Concert Choir in The Creation by Haydn.
Mostly recently, she performed as guest soloist in Händel's Messiah with Musica Sacra at Carnegie Hall and Princeton Pro Musica, US recital tours with the New York Vocal Ensemble, Händel's Utrecht Te Deum and Jubilate with the Eugene Concert Choir, Bach's St. Matthew Passion with the Westchester Oratorio Society. Other guest ppearances include concerts of works by Brahms, Mozart, Schubert, Shostakovich, and Tchaikovsky with the New York Vocal Ensemble, Haydn's Missa Brevis Sancti de Deo and Mozart's Requiem at the historic Saint Thomas Church, and her début with the Choral Arts Society of Washington (DC) in Mahler's Symphony No.8. She sang in Mozart's Coronation Mass and Bach Cantata No. 191 with the Eugene Concert Choir, Händel's King Solomon with the Dessoff Choirs, and with the Richmond Symphony Orchestra in Poulenc's Gloria.
Ms. Pannill has also performed with The Monadnock Music Festival, the Dennis Keene Choral Festival, and Ascension Music, The Queen of Sheba in Händel's King Solomon with Kent Tritle, Bach's Magnificat and Händel's Dixit Dominus with Gerre Hancock, solo Christmas cantatas with Ars Antiqua, Messiahs with Musica Sacra at Lincoln Center's Avery Fisher Hall and the Tilles Center for the Performing Arts, her début with the Memphis Symphony Orchestra in Bach's Mass in b minor (Soprano I), and solo cantatas at the Summer Stars Chamber Music Festival.
A truly versatile and accomplished artist, she appeared as special guest artist with the Philadelphia Classical Symphony in Mozart's Ladies in Distress where in addition to singing, she enacted several characters and played both the violin and piano. She has performed throughout the forty-eight contiguous United States, Canada, Europe, and the former Soviet Union. An accomplished violinist as well, Ms. Pannill graduated "first in her class" with double degrees from the Peabody Conservatory of Music in her native Baltimore. She later received her Master's Degree in Opera from the prestigious Curtis Institute of Music in Philadelphia. In 1993, she made her Carnegie Hall debut in Bach's Mass in b minor with Musica Sacra and Richard Westenburg. She has performed as soloist with this illustrious ensemble on numerous occasions, including Mozart's Vesperae Solennes at Avery Fisher Hall, in the Vivaldi Gloria at Alice Tully Hall, The Creation of Haydn and Händel's Belshazzar at the Berkshire Choral Institute, and in a critically acclaimed evening of Mozart Concert Arias with the Jupiter Symphony Orchestra, at the Kennedy Center for the Performing Arts in Washington, DC.
Judith Pannill has also distinguished herself through the quality of her recordings and by her praiseworthy representations of the "pure art of singing." Her latest recording of the Brahms Quartets for Four Solo Voices & Piano has recently been released on the Arabesque label. She has also appeared as a guest on many radio and television programs including National Public Radio, WQXR Radio in New York, West German National Radio, Polish National Television, PBS' "Nightwatch" with host Charlie Rose, and Sunday Morning on CBS television.
| Bach's Cantata No. 51: | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| "… featured the soprano vocal artistry of Judith Pannill in duet with the trumpet which balanced Pannill's clear, lyrical soprano voice. Her jubilant style combined with her fine technical control to good effect." | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
THE STATE
JOURNAL-REGISTER
(Springfield, IL)
| | Händel's Belshazzar:
| | "The brilliantly floating voice of the evening belonged to
soprano Judith Pannill, whose incisive flow and embellishments were pleasing.
An excellent musician, Pannill is also an accomplished violinist."
| | THE BERKSHIRE
EAGLE (Sheffield, MA)
| | Händel's Messiah:
| | "Soprano Judith Pannill offered comfort and
salvation through a voice rich in color and texture. Her ornamentation was
exquisite in 'Come unto Him'. Ms. Pannill also had the coloratura
style well in hand in 'Rejoice' and virtually shone in the Part III
'I know that my Redeemer liveth' and 'If God be for us'."
| | TOWN TOPICS
(Princeton, NJ)
| | "Soprano Judith Pannill and mezzo-soprano Tracy Watson sang so
beautifully that one could almost hear the sighs of pleasure in the audience
during their arias. Pannill's clear voice made something special of 'I
know that my Redeemer liveth', 'There were shepherds abiding in the
fields', and 'Rejoice greatly'. When the two joined in the most
beautiful segment of the work, the effect was nothing short of sublime."
| | THE TIMES
(Princeton, NJ)
| | "Soprano Judith Pannill has an uncomplicated voice. It is easy,
direct, and pure. She walked such a delicate line between indulgence and restraint
that I was riveted by her performance. She rescued 'I know my Redeemer
liveth' from the oft-found depression following the rousing end of the
'Hallelujah'. Her simplicity with the Lukean Nativity tale on the one
hand and her dramatic cadence improvisation in 'Rejoice greatly' touched
her full range of Baroque style."
| | CLASSICAL NEW
JERSEY
| | "Judith Pannill sang the soprano arias with a lovely, musical voice.
Her 'Rejoice greatly, O daughters of Zion' and 'I know that my Redeemer
liveth' floated appealingly over the orchestra."
| | THE TIMES
(Princeton, NJ)
| | "Ms. Pannill, the soprano soloist, showed delicate tone and marvelous
control on the vocal acrobatics in 'Rejoice greatly, O daughters of Zion.'"
| | TOWN TOPICS
(Princeton, NJ)
| | Händel's Solomon:
| | The vocal soloists were a fine lot…Of the women, Judith
Pannill, a soprano, as the Queen of Sheba, was the most impressive."
| | THE NEW YORK TIMES (James R. Oestreich)
| Haydn's The Creation:
| | "Soprano Judith Pannill, appearing here for the first
time, was a delight. Her vocal purity, floating agility, great forcefulness where
needed and the intense intimacy she brought to the Adam and Eve duet made her an
ideal choice for the part."
| | THE BERKSHIRE
EAGLE (Sheffield, MA)
| | Poulenc's Gloria:
| | "Judith Pannill's soprano solos were outstanding. The
even quality of her voice, her controlled vanishing sounds, and the rounded high
tones were a joy to hear."
| | MAIN LINE
TIMES (Philadelphia, PA)
| Vaughn-Williams's Magnificat:
| | "Soprano Judith Pannill proffered a sweet yet
full-bodied tone. She sang with an obvious understanding of the text's inner
meaning and diction that enabled her audience to hear every syllable. She matched
the tone of her voice to the meaning of the words… through singing that was
sweet and sure."
| | MAIN LINE
TIMES (Philadelphia, PA)
| | As Lauretta in Puccini's Gianni Schicchi:
| | "Judith Pannill displayed a gleaming voice as Lauretta
and, unlike so many sopranos, turned her aria into the gentle plea Puccini wanted."
| | OPERA NEWS
| | As Pamina in Mozart's Die Zauberflöte:
| | "The cast once again provided some notable discoveries.
Top vocal honors went to Judith Pannill as the kidnapped Princess Pamina …
Pannill looks like an angel, darn near sings like one, and displayed outstanding
command of the deceptively simple Mozart style."
| | THE WESTSIDER
(NYC)
| | IN CONCERT:
| | "The outstanding voice of the evening was that of soprano Judith
Pannill whose beautiful shimmering lyrical voice poured out as if there were no
end to its command of tonal amplitude and breath."
| | THE NEWS
HERALD (Morganton, NC)
| | "Judith Pannill has superbly developed her coloratura till its
agility is spectacular and the upper register of her voice is secure and vibrant
without a trace of shrillness. 'So anch'io la virtù magica' from Donizetti's
Don Pasquale was done to a turn. Pannill is a joy and fun to watch as well as
to hear…she broke everyone's heart with her exciting and authentic singing of
'Depuis le jour' from Louise. Later she received a standing ovation for the 'Ballatella'
from I Pagliacci."
| | THE SENTINAL
-LEDGER (Ocean City, NJ)
| | "Miss Pannill, who sang Schubert's 'Der Hirt auf dem Felsen'
as well as four
songs by Fauré, displayed fresh timbre, even legato and expressive ardor. The
Schubert is a good test piece for a singer, demanding an extended range and the ability
to negotiate leaps of ninths and tenths, as well as coloratura runs. Miss Pannill handled
it all, including the jubilant coloratura ending…and brought to the Fauré group
some smoothly controlled, carefully scaled tones."
| | THE BALTIMORE
SUN (Baltimore, MD)
| | "A very musical soprano, Judith Pannill sang three Mozart works … Her voice
is big in sound, yet, when the music demanded florid excursions into the high register,
Pannill seemed to soar up without effort and managed her way through the ornate figures
with panache. Her warm and pleasing demeanor added much to the pleasing effect … "
| | ASBURY PARK
PRESS (Asbury Park, NJ)
| | "Soprano Judith Pannill brought warm tone and an exceptionally secure
technique to the concert aria 'Voi avete un cor fedele' (K.217). Both Pannill's
singing and her versatility were noteworthy, as she spent the remainder of the
concert as a member of the violin section."
| | WASHINGTON POST
(Washington, DC)
| |
| Bach, J.S. | Cantatas #36, 51, 57, 84, 93, 202, 208 |
| Christmas Oratorio | |
| Magnificat | |
| Mass in b minor | |
| St. Matthew Passion | |
| St. John Passion | |
| Barber | Prayers of Kierkegaard |
| Beethoven | Mass in C |
| Missa Solemnis | |
| Egmont "Incidental Music" | |
| Brahms | Deutches Requiem |
| Liebeslieder Waltzes | |
| Britten | Ceremony of Carols |
| Carissimi | Jephta |
| Dubois | Seven Last Words of Christ |
| Fauré | Requiem |
| Händel | selected arias from opera & oratorio |
| Belshazzar | |
| Dixit Dominus | |
| Messiah | |
| Haydn | The Creation |
| Lord Nelson Mass | |
| Missa Brevis Sancti Joannis | |
| Seven Last Words of Christ | |
| Honegger | King David |
| Lehar | selected operetta arias |
| Mahler | Symphony No. 4 |
| Mendelssohn | Elijah |
| Hymn of Praise | |
| "Hear my prayer" | |
| "Infelice" | |
| Monteverdi | Magnificat |
| Mozart | selected concert & opera arias |
| Coronation Mass | |
| Exsultate, jubilate | |
| Grabmusik | |
| Grand Mass in C Minor | |
| Litaniae de Beata Virginie | |
| Requiem | |
| Vesperae Solennes | |
| Pergolesi | Stabat Mater |
| Poulenc | Gloria |
| Respighi | Laud to the Nativity |
| Rossini | Stabat Mater |
| Rutter | Gloria |
| Requiem | |
| Saint-Saens | Christmas Oratorio |
| Schubert | Mass in G |
| Vaughn-Williams | Mass in g minor |
| Vivaldi | Gloria |
| Magnificat |
| Beethoven | Fidelio | Marzelline | 1 |
| Berlioz | Béatrice et Bénédict | Héro | 2 |
| Bizet | Carmen | Micaëla | 2 |
| Cavalli | La Calisto | Calisto | 1 |
| Humperdinck | Hänsel und Gretel | Gretel | 1 |
| Massenet | Werther | Sophie | 2 |
| Mozart | Così fan tutte | Despina | 1 |
| Don Giovanni | Zerlina | 1 | |
| Idomeneo | Ilia | 2 | |
| La Finta Giardiniera | Sandrina | 1 | |
| Le Nozze di Figaro | Susanna | 1 | |
| Die Zauberflöte | Pamina | 1 | |
| Poulenc | Dialogues des Carmélites | Constance | 1 |
| Puccini | Gianni Schicchi | Lauretta | 1 |
| La Bohème | Musetta | 1 | |
| Suor Angelica | Genovieffa | 1 | |
| Turandot | Liú | 2 | |
| Rossini | Il Turco in Italia | Fiorilla | 1 |
| Strauss, J. | Die Fledermaus | Rosalinde | 2 |
| Strauss, R. | Der Rosenkavalier | Sophie | 1 |
| Verdi | Falstaff | Nanetta | 3 |
| 1 | performed |
| 2 | completely prepared |
| 3 | future role |