Pamela Dellal, mezzo soprano
uncommon intelligence, imagination and textual awareness...
Pamela Dellal, mezzo-soprano, is an acclaimed soloist and recitalist whose singing has been praised for her "exquisite vocal color," "musical sensitivity," (Worcester Gazette) and "eloquent phrasing" (The Boston Globe). Her repertoire encompasses an astonishing range from 12th-century monody through Renaissance songs, Baroque cantatas and oratorios, 18th–21st century art songs and operas, and premieres of new works. She was entrusted with the premiere of a new John Harbison work, The Seven Ages, and performed the work in New York, San Francisco, Boston and London. Ms. Dellal made her Kennedy Center debut under Julian Wachner in the Bach B-minor Mass, and her Lincoln Center debut under renowned conductor William Christie in Messiah. She has performed under other acclaimed conductors such as Seiji Ozawa, Christopher Hogwood, Paul McCreesh, Bernard Labadie and Roger Norrington. Ms. Dellal has also appeared with the Tokyo Oratorio Society, the Lydian String Quartet, The Bach Choir of Bethlehem, Boston Baroque, the Boston Early Music Festival, Aston Magna, the Dallas Bach Society, The Cayuga Chamber Orchestra, the National Chamber Orchestra, the Evansville Philharmonic, the Baltimore Choral Arts Society and the Jacksonville Symphony Orchestra. Ms. Dellal has received critical acclaim for performances of Brahms' Alto Rhapsody, Handel's Messiah, Mozart's C-minor Mass, and Bach's B-minor Mass, St. Matthew and St. John Passions. Her operatic roles include Dido in Purcell's Dido and Aeneas, Sesto in Mozart's La Clemenza di Tito, Dorabella in Mozart's Così Fan Tutte, Bradamante in Handel's Alcina, Erika in Barber’s Vanessa, Lucretia in Britten’s The Rape of Lucretia, and Paulina in Harbison's Winter's Tale. She has been a featured artist with the The Red House Opera Group, Prism Opera Company, Opera Aperta, Ocean State Lyric Opera, the New Boston Theatre Project, and the Opera Company of Boston, and has appeared in concert in major cities in Europe, the United States, Australia and Japan.
Known for her work with Renaissance and Baroque chamber music, Ms. Dellal has appeared multiple times with the Boston Early Music Festival, is a frequent guest artist with Ensemble Chaconne and the Musicians of the Old Post Road, and a current member of the Blue Heron Renaissance Choir. As a member and Acting Director of Sequentia's women's ensemble Vox Feminae, Ms. Dellal has made numerous recordings of the music of Hildegard von Bingen, and has toured the U.S., Europe, and Australia. A passionate advocate for contemporary music, she is a regular guest with the Boston ensembles Dinosaur Annex and Boston Musica Viva, and has also appeared with the Boston Modern Orchestra Project, the Lumen Ensemble and Collage, performing works by contemporary composers such as Martin Boykan, Martin Brody, Edward Cohen, John Harbison, Ruth Lomon, Shulamit Ran, Judith Shatin, Fabio Vacchi, Judith Weir, Scott Wheeler, and others. She has been a regular soloist in the renowned Bach Cantata series presented by Emmanuel Music since 1984, having performed almost all 200 of Bach's sacred cantatas. She has over twenty-five recordings to her credit, on the Artona, BMG, CRI, Dorian, Meridian, and KOCH labels among others. (see Discography).
As an educator, Ms. Dellal teaches diction classes at the Boston Conservatory and the Longy School of Music. She has taught voice at Brandeis University, Phillips Exeter Academy, and Harvard University; she has also served as faculty at several summer festivals, including the Amherst Early Music Festival Baroque Academy, the Berkshire Choral Festival, Pinewoods Early Music Week and World Fellowship Early Music Week, and the VdGSA Conclave. She has been invited to give master classes and lecture/demonstrations at many institutions throughout the US, including The North Carolina NATS conference, Stanford University, Cal. State Fullerton, SUNY New Paltz, the Longy School of Music, Wellesley College, Wheaton College, and other organizations. She is a recognized specialist in early vocal techniques and the music of Hildegard von Bingen; in addition, she has become a sought-after translator of musical texts including the Bach cantatas, translations of which appear on the Emmanuel Music website. Her translations are included in the complete works of C.P.E. Bach, published by the Packard Humanities Institute. An article on C.P.E. Bach lieder was published in the August 2014 issue of Early Music (U.K.).