Described by the New York Times as “a soprano of extraordinary agility and concentration,” and the Boston Globe as “sensational,” Mary Mackenzie has captured the attention of audiences throughout the United States.
A passionate performer of contemporary vocal music, Mackenzie has collaborated with Pierre Boulez, John Harbison, Richard Danielpour, and James Primosch; and works closely with young composers to develop and premiere new works for voice. As a chamber musician she has appeared with the American Contemporary Music Ensemble, Chameleon Arts Ensemble of Boston, Collage New Music, Continuum Ensemble, Ekmeles, Da Capo Chamber Players, Fulcrum Point New Music Project, The Juilliard School’s AXIOM Ensemble and New Juilliard Ensemble, Le Train Bleu, the Metropolis Ensemble, and the Talea Ensemble.
Notable solo appearances include Harbison’s Closer to My Own Life with the Albany Symphony; Elliott Carter’s Warble for Lilac Time with the American Symphony Orchestra at Carnegie Hall; Jean Barraqué’s Chant Aprés Chant with the Juilliard Percussion Ensemble at Alice Tully Hall; Boulez’s Improvisations sur Mallarmé Nos. 1 & 2 for the composer’s 85th birthday celebration at Columbia University’s Miller Theatre; Reinbert De Leeuw’s Im wunderschönen Monat Mai with Le Train Bleu at the Bravo Vail Festival and The Knights at the Smithsonian and BRIC; Héctor Parra’s Hypermusic: Ascension at the Guggenheim Museum; Schoenberg’s String Quartet No. 2 with the Borromeo String Quartet, and Pierrot Lunaire at Town Hall Seattle and the Rockport Music Festival. Mackenzie made her professional opera debut as Despina in Così fan tutte with Madison Opera, and appeared as Sister Léonide in the world premiere of Matt Marks’ and Paul Peers’ Mata Hari at the 2017 Prototype Festival in New York City.
Mackenzie appears in Zosha Di Castri’s Dear Life, on August 3, during Aural Histories.
Photo by Lydia Sek