Up for auction "Operatic Soprano" Kathryn Bouleyn (Day) Hand Signed 4x6 Card. This
item is authenticated by JG Autographs and comes with their Certificate of
Authenticity. ES-3366 athryn
Day (née
Bouleyn) is an American opera singer who has had an active international career
spanning five decades. She began her career as a leading soprano under
the name Kathryn Bouleyn in the 1970s and 1980s with companies
like the New York City Opera, the San Francisco Opera, and the Opera Theater of Saint Louis. With the
latter institution she created the role of Cora in the world premiere of Stephen
Paulus' The Postman Always Rings Twice (1982).
In the 1990s Day transitioned to leading mezzo-soprano roles
with the aid of companies like the Seattle Opera and
the Opéra de Montréal. In 2003 she portrayed Jeanne
Loiuse de Pontalba in the world premiere of Thea Musgrave's Pontalba at
the New Orleans Opera. She has been a regular
presence at the Metropolitan Opera in mainly comprimario roles
since 2005. She has appeared on several broadcasts of the Metropolitan Opera Live in HD. She has
sometimes been billed as Kathryn Bouleyn Day. Born in Philadelphia,
Day studied at the Jacobs School of Music at Indiana University and at the Curtis Institute of Music where she
was a pupil of Margaret Harshaw. She
placed third in the finals of the Metropolitan Opera National Council
Auditions in 1973, which led to her debut performance at
the Metropolitan Opera House on
March 25, 1973 singing "Come scoglio" from Così fan
tutte and "Song to the Moon" from Rusalka. She
made her professional opera debut in 1972 with the Pennsylvania
Opera Company as Violetta in La traviata.
That same year she was the soprano soloist in Verdi's Requiem with
the Mendelssohn Club. In 1973 she portrayed Mimi
in La bohème and Violetta with the Little
Lyric Opera Company in Philadelphia. In 1974 she made her debut with the Philadelphia Lyric Opera Company as
Nella in Gianni Schicchi. Day sang Rusalka for the
United States premiere of that opera for her debut with the San Diego
Opera in 1975. She
later returned to San Diego as Ninetta in The Love for Three Oranges (1978),
Nanetta in Falstaff (1978), Tatiana in Eugene Onegin (1985) and Countess
Almaviva in The Marriage of Figaro (1986). In
1977 she made her debut at the San Francisco Opera (SFO) as Bubikopf
in Viktor Ullmann's Der Kaiser von Atlantis. She has since
returned to the SFO as Clorinda in Monteverdi's Il combattimento di Tancredi e
Clorinda (1977), the Third Norn in Götterdämmerung (1985, 1990), and
Gutrune in Götterdämmerung (1985). She
also sang Tatiana for her debut at the Long Beach
Opera in 1984. In 1976 Day made her debut at Carnegie Hall as
the soprano soloist in Florent
Schmitt's Psalm 47, a setting of Psalm 47,
with the Philadelphia Orchestra under
conductor Eugene Ormandy. In
1977 she made her debut at the Santa Fe
Opera as Anaide in the United States premiere of Nino Rota's Il cappello di paglia di Firenze. In
1979 she performed the role of Servilia in Mozart's La clemenza di Tito at Avery Fisher
Hall for the Mostly Mozart Festival, and made her debut
at the New York City Opera (NYCO) as Valencienne
in The Merry Widow. In
December 1979 she was soprano soloist in Handel's Messiah with Musica Sacra under conductor Richard Westenburg at Lincoln
Center. She
performed the same work with the Oratorio Society of New York under
conductor under Lyndon Woodside at Carnegie Hall the
following year. In 1980 Day was the soprano soloist in
Beethoven's Missa Solemnis with the New York Choral Society at
Carnegie Hall. That
same year she portrayed Rosina in the United States premiere of Joseph Haydn's La vera
costanza at the Caramoor Festival,
performed Number 1 in Conrad Susa's Transformations at the Spoleto Festival USA, and returned to the
NYCO as Princess Margaret in The Student Prince. In
1981 she appeared at the Opera Theatre of Saint Louis (OTSL)
as Fennimore in the United States premiere of Frederick
Delius' Fennimore and Gerda, made her debut with
the Pennsylvania Opera Theater as the
Countess Almaviva, and made her European debut at the Dutch National Opera in the title
role of The Cunning Little Vixen. Day
returned to the OTSL in 1982 to create the role of Cora in the world premiere
of Stephen Paulus' The Postman Always Rings Twice. She
also returned to the NYCO in 1982 to portray Countess Almaviva to Alan Titus'
Count. In
1983 she sang Tatyana to Thomas Allen's Eugene Onegin at Festival
Ottawa in Canada's National Arts Centre, and in 1984 she was Mimi to Tonio di
Paolo's Rodolfo at the Canadian Opera Company. In
1985 she was a soloist in Bach's St Matthew Passion with the Orchestra of St. Luke's and the American
Boychoir under conductor John Nelson. In
1986 she portrayed Sieglinde in Die Walküre at Artpark near Niagara Falls. In
1987 she returned to the NYCO as Santuzza in Cavalleria Rusticana and made her
debut at the Metropolitan Opera as Vitellia in La clemenza di Tito.[3][24] In
1988 she made her debut at the Welsh National Opera as Tatiana
in Eugene Onegin and her debut at the Scottish
Opera as Donna Elvira in as Don Giovanni.
In 1989 she sang Leonore in Beethoven's Fidelio at Theater Basel. |