London baroque emma kirkby biography
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Dame Emma Kirkby
Meet Dame Kirkby, soprano:
“Ms. Kirkby, with absorption pristine expression, perfect handling, and skilled phrasing, reminded us put off the prime role finance vocal opus is function communicate.” &#; The Fresh York Observer
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Emma Kirkby
English soprano (born )
Dame Carolyn Emma Kirkby, DBE (; born 26 February ) is an English soprano and early music specialist. She has sung on over recordings.[1]
Education and early career
[edit]Kirkby was educated at Hanford School,[2]Sherborne School for Girls in Dorset, and Somerville College, Oxford University. Her father was Geoffrey John Kirkby, a Royal Navy Officer.
Kirkby did not originally intend to become a professional singer. In the late s, while she was studying classics at Oxford, she joined the Schola Cantorum of Oxford, a student choir which, at the time, was being conducted by Andrew Parrott. After graduation, Kirkby went to work as a school teacher, but became increasingly involved in singing with the growing number of music ensembles that were being founded during the Early music revival of the early s. She married Parrott, and sang with his Taverner Choir which he founded in Her vocal career developed throughout the s, and she became noted as a soloist in performances and recordings with prominent early music performers, including Anthony Rooley and the Consort of Musicke and Christopher Hogwood's Academy of Ancient Music.[3]
She taught for many years at Dartington International Summer School and the Gu
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Dame Emma Kirkby
Originally, Emma Kirkby had no expectations of becoming a professional singer. As a classics student at Oxford and then a schoolteacher she sang for pleasure in choirs and small groups, always feeling most at home in Renaissance and Baroque repertoire. She joined the Taverner Choir in and in began her long association with the Consort of Musicke. Emma took part in the early Decca Florilegium recordings with both the Consort of Musicke and the Academy of Ancient Music, at a time when most college-trained sopranos were not seeking a sound appropriate for early instruments. She therefore had to find her own approach, with enormous help from Jessica Cash in London, and from the directors, fellow singers and instrumentalists with whom she has worked over the years.
Emma feels privileged to have been able to build long-term relationships with chamber groups and orchestras, in particular London Baroque, the Freiburger Barockorchester, L'Orfeo (of Linz) and the Orchestra of the Age of Enlightenment, and now with some of the younger groups such as the Palladian Ensemble and Florilegium.
To date she has made well over a hundred recordings of all kinds, from sequences of Hildegarde of Bingen to madrigals of the Italian and English Renaissance, cantatas and orato