American soprano Elizabeth Keusch is rapidly emerging as an artist to watch and has already been heard in major venues worldwide. She has performed recently in Disney Hall with the Los Angeles Philharmonic and composer/conductor Thomas Ades in works by Castiglioni and Kurtág and in the Seattle Chamber Players’ Icebreaker III Festival. Other recent highlights include Helmut Lachenmann’s …got lost…in Luxembourg, Paris and Amsterdam, a recital at New York’s 92nd Street Y in celebration of Maurice Sendak, Mozart’s Requiem and Haydn’s Paukenmesse with the National Chorale at Avery Fisher Hall, and George Benjamin’s Mind of Winter and Oliver Knussen’s Whitman Settings with the Berlin Philharmonic and the New World Symphony.
Recent debuts include performances with the Cleveland Orchestra, the National Symphony Orchestra chamber ensemble in Oliver Knussen’s Requiem: Songs for Sue, the Louisiana Philharmonic in Bach’s Christmas Oratorio and Handel’s Messiah, Mahler’s Symphony No. 4 with the Helena Symphony, Elijah with the Seattle Symphony, and Elliott Carter’s Tempo e tempi with the St. Paul Chamber Orchestra. She has also appeared with the Oregon Bach Festival, the Colorado Symphony, Choral Arts Society of Washington, Florida Orchestra, and the Boston, Baltimore, Dallas, and Indianapolis Symphonies.
Widely recognized for her remarkable musicianship, Ms. Keusch is an avid champion of chamber music and new music. This season she collaborates with Bang on a Can in Lost Objects. Ms. Keusch toured Portugal with Ensemble Contrapunctus performing Schoenberg’s Pierrot Lunaire and Shostokovich’s Seven Block Songs. She toured the northeast with both the Borromeo and Brentano String Quartets performing Schoenberg’s 2nd String Quartet, and she debuted at the Lincoln Center Chamber Music Society in Alice Tully Hall with the Pacifica Quartet in Osvaldo Golijov’s Tenebre and How Slow the Wind. Performances of Academy-Award winning composer Tan Dun’s Water Passion for St. Matthew have taken her to the Europaische Musikfest in Stuttgart, Germany for the world premiere, and to Brooklyn Academy of Music’s 2002 Next Wave and 2005 South Street Seaport Festivals in New York City, the 2002 Oregon Bach Festival, the 2003 Macau International Festival and the 2005 Perth International Arts Festival. Among her many other appearances are the Los Angeles Philharmonic’s Green Umbrella Series, Boston Musica Viva, Collage New Music Boston, the Seattle Chamber Players and Kammerensemble Neue Musik Berlin.
Also in demand for opera productions worldwide, Ms. Keusch made her Arizona Opera debut last season as Polly Peachum in Bernard Uzan’s production of Kurt Weill’s Three Penny Opera conducted by George Hanson. She gave the 2005 world premiere of Matthias Pintscher’s L’espace dernier conducted by Kwame Ryan in her debut with Opéra National de Paris, and premiered the role of Medea in Paul-Heinz Dittrich’s opera Zerbrochene Bilder with the Kammerensemble Neue Musik Berlin and Musikakademie Rheinsberg. She performed the leading role of First Soprano in Helmut Lachenmann’s Das Mädchen mit den Schwefelhölzern with the Stuttgart Staatsoper in Stuttgart and Paris with director Peter Mussbach and conductor Lothar Zagrosek. She repeated the work in a production directed by Alfred Kirchner with Neue Oper Wien in the 2003 Wiener Festwochen. With Encompass New Opera Theatre (NYC), Keusch was seen as Yvonne in Antheil’s Venus in Africa, Phaedra in Britten’s dramatic oratorio of the same name and the title role in Argento’s Miss Havisham’s Wedding Night.
Elizabeth Keusch holds a Bachelor of Music degree from the University of North Texas, and a Master’s of Music Degree and Artist Diploma from New England Conservatory. While at New England Conservatory she was named the 2001 Presidential Scholar for the Conservatory. She was a Tanglewood Fellow in the summers of 1997 and 1999. Ms. Keusch resides in Worcester, Massachusetts.
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