Dynamic soprano Kerry Walsh, having exceled in lyric soprano and dramatic coloratura roles, is now emerging as one of the most exciting performers of dramatic repertoire. A specialist in contemporary literature as well, Ms. Walsh is greatly sought after as an interpreter of new works, and has brought numerous roles to life. She will star as Antonia in Rio de Sangre, a new opera by “Matrix” film composer Don Davis. When the opera was workshoped at the Los Angeles Master Chorale, she was met with glowing reviews….. “Antonia, sung with sultry glamour by Kerry Walsh, was all dark rapture.”
Ms. Walsh has performed with the Santa Fe Opera, Opera San Jose, the San Luis Obispo Mozart Festival, the Long Beach Opera, the Boris Brott Festival in Canada, and Opera Music Theater International in roles including Constanze, Mimi, Rosina, Violetta, Lucia, Fiordiligi, Carmen, Leila, Amelia, Giuliette, the Marschallin, Margherita (Mefistofele), Sesto (La Clemenza di Tito) and the Queen of the Night, which she has also recorded for the film soundtrack of Radioland Murders. New roles in her repertoire are Norma, Salome, Lucretia Borgia, Elsa, and Aida. Stepping out on the msuical theater stage, she has delighted audiences as Lady Thiang in The King and I and the Princess in The Unsinkable Molly Brown. With charisma and versatility enough to successfully carry a concert program, Ms. Walsh frequently appears in venues such as the Basel Sinfonietta, i Cantori and Desert Music Fest as featured soloist in both traditional and contemporary selections, including Villa-Lobos’ Bachianas Brasileiras, Bachalet’s Chere Nuit, Mozart’s Exultate Jubilate, and Flamenco-choreographed selections from Carmen.
Her training at the North Carolina School of the Arts and Juilliard, where she received her Bachelor’s and Master’s degrees respectively, was succeeded by a year of study at the Hochschule der Kunste Berlin as a Fulbright Scholar. She has received a number of other grants and honors as well from the Licia Albanese Foundation, Lola Wilson-Hayes competition, Palm Springs, Miami, and Santa Barbara Opera Guilds, Profant Foundation, Birgitte Nielson Competition, Artists of the Future, and the Metropolitan Opera Western Regional Competition. Her work in Germany and Switzerland led to collaborative and solo projects combining dance, voice, flute and theater. Upon moving to Los Angeles to attend the University of Southern California opera workshop, she continued to explore the fusion of these art forms, and also wrote, designed and choreographed her own works. Noted for her beauty on screen as well as stage, Ms. Walsh has also performed as an actress in theatre, television and film. She is featured in the upcoming independent film “Reflex”, feature release “42.4%”, and in a comedic turn in Nickelodean’s “Drake and Josh.” Her knowledge of a wide variety of musical styles has been valuable in relation to the TV and film industries as well; she has soloed on numerous soundtracks, such as “The Matrix Reloaded” and “The Matrix Revolutions.”
Critics have consistently praised Ms. Walsh’s range and flexibility, which have served her well in the field of new music. She has debuted numerous works including Ray Shattenkirk’s Aves, commissioned by Chamber Music America for the Sacramento Chamber Music Society, and four pieces written for her by Howard Hersh for Music in the Mountains and the Sacramento Festival of New American Music. Yet to be premiered is a concerto for both flute and voice, written for her by Ross Whitney. She has employed her movement and improvisational skills in works such as Pauline Oliveras’ Relocario de los Animales and the premier of Nicholas Chase’s 22 with Long Beach Opera. She created the role of Clytemnestra for the world premier of Will Salmon’s Orestia and sang Lena/Leonore in the American premier of von Bose’s The Sorrows of Young Werther with the Santa Fe Opera. Ms. Walsh has sung in over twenty languages, including Japanese, Ethiopian, Balinese and Arabic in a program of international lullabies, and Chinese in works of Chen Yi.
Mention has often been made of her convincing portrayals and dramatic gift; “…understands the sweep of drama as much as the music itself…”, “…a knockout, both physically and vocally…”. The Eugene Register-Guard said her performance of Mozart’s concert aria from Idomeneo “…was sung beautifully by (Ms. Walsh.) Her voice was rich, strong and thrilling…. superbly controlled, and at full throat, she sent goose bumps up the back of my neck, especially in the coloratura runs.” In the American premier of Erling Wold’s Sub Pontio Pilato at ODC Theater in San Francisco, Ms. Walsh was described as “entrancing” and “formidable,” a “showstopper;” her singing referred to as “achingly alluring.” Other reviews have mentioned her “golden tone” and “amazing voice”; the LA Times has termed her singing as “dramatic” and “meltingly beautiful.”