Meredith Hall



Meredith Hall



Canadian Soprano Meredith Hall delights audiences internationally with her “lustrous sound and fluent legato” (San Francisco Chronicle) and “bravura musical performance matched by a riveting [sense of the] dramatic” (Boston Globe). Equally at home in Opera and Oratorio, she is especially in demand for Baroque and Classical works, particularly those of Mozart and Handel.

Recent and upcoming performances include the Leipzig Bachfest with the Ottawa Bach Choir, Handel’s Messiah for the Grand Philharmonic Choir (Kitchener Waterloo), Guelph Chamber Choir, Toledo Symphony, and Amadeus Choir, Elgar’s The Apostles for Pax Christie Chorale of Toronto, “A Celtic Christmas” programme for Apollo’s Fire in Cleveland and New York. Other engagements include appearances for St. Paul’s Lyra Baroque Orchestra singing Mozart and Haydn, Bach’s Johannes Passion with the Baldwin Wallace Bach Festival, his B Minor Mass with the Amadeus Choir of Toronto, Matthäus Passion with the Grand Philharmonic Choir of Kitchener Waterloo, Hippolyte et Aricie for VOICEBOX: Opera in Concert, and Messiahs for Symphony Nova Scotia and the Newfoundland Symphony. She has also been featured by Music and Beyond in Ottawa and for the Sweetwater Festival in Ontario.

Past highlights include performances at the Göttingen Handel Festival in Germany, Messiah with the Toronto Symphony, Portland Baroque Orchestra, Apollo’s Fire, Victoria Symphony, Memphis Symphony, and a Handel programme for the Grand Rapids Symphony.  Also on her schedule were performances with the Arizona Chamber Music Festival in Tucson and the Hot Earth Ensemble of Newfoundland. Ms. Hall has been heard in San Francisco in Rameau’s Pygmalion and Arne’s Comus with Philharmonia Baroque, toured Canada’s west coast with La Nef, starred as Dido in Dido and Aeneas for Apollo’s Fire and debuted with Boston Baroque in Rameau’s Pygmalion.  Also on her schedule were, Purcell’s The Indian Queen for the Toronto Masque Theatre and concerts with the Montreal Baroque Festival, in Halle, Germany at the Handel Festival and recording projects with La Nef for CBC Radio Canada and with Toronto Masque Theatre for CBC Radio Two.

Ms. Hall appeared at the Shannon International Music Festival for Beethoven’s Irish and Scottish songs with Nicholas McGegan at the piano as well an all Mozart programme.  She was heard at the Montreal Baroque Festival and at Domaine Forget in a programme with the Toronto Consort, in Memphis for Mozart’s Mass in C Minor, Tucson for the Arizona Chamber Music Festival and Toronto with Pax Christi Chorale for Mendelssohn’s St. Paul.  Of particular note was her recital debut in Toronto for the Women’s Musical Club with guitarist Bernard Farley.

Further credits include the title role in Rameau’s Zephyr for McGegan’s Philharmonia Baroque, a Baroque evening for the Windsor Symphony, Bach’s Johannes Passion for Orchestra London and the Toronto Operetta Theatre production of the zarzuela El barberillo de Lavapiés. She was also heard as Aristeo in Rossi’s Orfeo for the Toronto Consort and was featured in a Handel programme for I Musici de Montreal.

The Newfoundland native has sung the title roles of Monteverdi’s L’incoronazione di Poppea (Houston Grand Opera and Opera Atelier, Toronto) and Handel’s Partenope (Göttingen Handel Festival, Germany) as well as Pamina in Mozart’s Die Zauberflöte (Opera Atelier, Toronto) and Phébé in Rameau’s Castor et Pollux (Opera in Concert, Toronto).  Other Handel roles include: Semele (Handel & Haydn Society, Boston); Pleasure in The Choice of Hercules (Philharmonia Baroque, San Francisco) and Mary Magdelene in Resurrezione (Opera Atelier). In Mozart roles, Ms. Hall has appeared as Zerlina in Don Giovanni at the National Arts Centre in Ottawa, Bastienne in Bastien und Bastienne with Tafelmusik in Toronto and as Elvira in Don Giovanni for Opera Atelier’s tour of Japan. Her performances as Susanna in The Marriage of Figaro with the same company were received with great acclaim in Toronto and Tokyo. Previous operatic engagements have included Giunone in Cavalli’s Ercole amante in Utrecht, Tanglewood and Boston; Eurydice in Gluck’s Orfeo for Cleveland Opera; Galatea in Handel’s Acis and Galatea for Opera Atelier; Dido in Dido and Aeneas for Apollo’s Fire (Cleveland); Messagiera in Monteverdi’s Orfeo for Vancouver Early Music; and Altisidore in Boismortier’s Don Quichotte for Paris’ Opera Comique.

Concert appearances include Mozart’s Mass in C Minor with the Toronto Mendelssohn Choir and the Arcadia Chamber Orchestra in Osaka, Japan; Handel’s Gloria with Pittsburgh’s Chatham Baroque; Pergolesi’s Stabat Mater and Handel’s Dixit Dominus with Le grand Choeur de Montreal; Bach’s Mass in B Minor for the St. Lawrence Choir of Montreal and his Missa Brevis for the Vancouver Chamber Choir. Ms. Hall toured Japan appearing in a series of song recitals in Osaka and Tokyo with her husband, guitarist Bernard Farley. For Toronto Operetta Theatre she performed the role of Nanine in the Canadian premiere of The Widow by Calixa Lavallee.

She has recorded several albums on the ATMA label with the early music ensemble La Nef, including Songs of Robbie Burns, Oikan ayns Bethlehem and the Battle of Killiecranckie and her latest CD with Apollo’s Fire is Sacrum Mysterium. In release are discs for Deutsche Grammophon Archiv, Philips, Naxos (Rameau’s Castor et Pollux and Purcell’s The Tempest), Dorian, NPR Records and CBC Records with such groups as Les Musiciens du Louvre, Le Concert Spirituel, Opera in Concert/Aradia, The Musicians of the Globe, The Toronto Consort and Tafelmusik. Ms. Hall can also be heard in the title role in a recording of Handel’s Partenope with the Internationale Händel-Festspiele Göttingen, conducted by Nicholas McGegan.

September 2019



Boismortier Altisidore DON QUICHOTTE
Cavalli Giunone ERCOLE AMANTE
Handel Galatea
Maria Magdelena
Lully Andromède PERSÉE
Monteverdi Poppea/Nero
Mozart Servillia
Purcell Dido/Belinda
Rameau La Chasseresse
Rossi Giunone ORFEO


Ariosti Pur al fin gentil Viola
Bach, J.S. Cantatas 36, 51, 92, 140, 191, 199, 202, 211, 213
Magnificat in D
Mass in B Minor
Matthäus Passion
Johannes Passion
Missa Brevis
Barber Knoxville: Summer of 1915
Brahms Liebeslieder Walzer
Ein Deutsches Requiem
Britten Les Illuminations
Bruckner Missa Solemnis
Cavalieri Il rappresentatione di anima e di corpo
Clarke Ode on the death of Henry Purcell
Couperin Trois leçons de ténèbres
Fauré Requiem
Freedman Trois Poèmes de Jacques Prevert
Handel Athalia
Israel in Egypt
Jephtha, (The Angel)
Ode for St.Cecilia’s Day
The Choice of Hercules
La Resurrezione
Silete Venti
Haydn Die Schöpfung
Missa Sancti NicolaeTheresienmesse
Monteverdi Salve Regina
Vespro della beata virgine
Mozart Davidde penitente
Mass in C minor K 427
Exultate Jubilate
Vesperae solennes de confessore
Pergolesi Stabat Mater
Poulenc Gloria
Respighi Lauda per la natività del Signore
Scarlatti Stabat Mater
Schubert Mass in G
Mass in E flat
Schütz Christmas Story, (Angel)
Musikalische Exequien
Vaughan-Williams Dona Nobis Pacem
Vivaldi Gloria, Magnificat


Barber Hermit Songs
Brahms Zigeunerlieder
Debussy Chansons de Bilitis
de Falla Siete canciones populares españolas
Handel Neun Deutsche Arien
Haydn Arianna a Naxos
Hasse Quel vago seno
Monteverdi Il lamento d’Arianna
Poulenc Métamorphoses
Ravel Vocalise – étude en forme de Habanera
Cinq chansons populaires grecques
Schafer Aria of the Princess
Schubert Der Hirt auf dem Felsen
Suleika I, II
Schumann Liederkreis, Op.39
Walton Three Songs to Poetry by Edith Sitwell
Wolf Mignon lieder

Lieder by: Beethoven, Brahms, Mahler, Mendelssohn, Mozart Schubert, Schumann, Wolf

English continuo songs by: Brewer, Johnson, Lanier, Lawes

English lutesongs by: Campian, Danyel, Dowland, Ford, Morley

Chansons by: Fauré, Debussy, Poulenc, Ravel, Roussel

Early Italian cantatas and arias by: Fontei, Frescobaldi, d’Indy, Monteverdi, Strozzi

Spanish songs by: Granados, Montsalvatge, Nin, Obradors, Turina

Songs with Guitar by: Sor, Giuliani, Schubert, Beethoven, Berlioz and Farley

“As always, Canadian soprano Hall used her shimmering voice as a vessel for eloquent storytelling. She caressed words, in several languages, as she communicated the essence of the texts.”
The Plain Dealer, Donald Rosenberg [Apollo’s Fire Celtic Christmas]

“As the Statue, soprano Meredith Hall entered in a flame-red dress, struck a pose, and looked — well, statuesque. Her high, flexible voice is brilliant in color and texture, and she delivered her vows of love to Pygmalion with exquisite poise and melting beauty.”
San Francisco Classical Voice – Georgia Rowe

“Meredith Hall sang with plush tone in the role of the statue.”
Boston Globe – David Weininger

“Soprano Meredith Hall sang with commendable musicality and purity of sound, ideal in the lyrical arias.”(MESSIAH)
Globe and Mail – Ken Winters

“Merdith Hall, a picture-pretty Canadian soprano with a wonderful voice and extraordinary stage presence.” (Göttingen, PARTENOPE)
Online Muzik Magazin – Gerhard Menzel

“Young Canadian soprano Meredith Hall’s captivating performance in the title role…every aria is an unalloyed masterpiece and Hall made each one a special moment. Furthermore she was also ideal visually, bringing to the role a playfully regal grandeur and much sensual allure.”
Opera News – George Loomis

“The very impressive Meredith Hall, with her wonderous coloratura, reveled in the challenges to range and dexterity posed by the composer.” (Mozart, MASS IN C minor)
Toronto Star – Geoff Chapman

“Meredith Hall sang with clear, articulate phrasing and enough vocal power to fill every corner of the hall.”
Contra Costa Times (San Francisco) – Georgia Rowe

“Meredith Hall played the travesty role of Zéphyre to the hilt, cutting a dashing figure in a sparkling trouser ensemble fit for a god. The purity of her tone, together with her utter control of expression was a joy to hear…Hall’s gorgeous voice and excellent acting skills were convincing.”
San Francisco Classical Voice – Rebekah Ahrendt

“…soprano Meredith Hall who brought singing of enormous lusciousness and sweep to the trouser role of Zéphyre.”
San Francisco Chronicle – Joshua Kosman

“The shiniest star of the evening was Canadian soprano Meredith Hall who sang with such drama and exquisite ornamentation that it simply took one’s breath away.”
Toronto Star – John Terauds

“As Poppea, Canadian soprano Meredith Hall unveiled new colours and strength in her voice alongside her usual magnetic stage presence.”
The National Post – Tamara Bernstein

“Meredith Hall literally shone on the stage…her charisma was equaled by her interpretive ability…a clear voice that could be powerful or light as required by the emotions.” (Robert Burns with La Nef)
La Presse (Montreal) – Guy Marceau

“The classiest singing of Frank Nelson’s simple libretto came from soprano Meredith Hall…her two big arias with eloquent, silky declamations and coquettish characterization were excellent… trills well established.” (Toronto Operetta Theatre, THE WIDOW)
Toronto Star – Geoff Chapman