|Dramatic coloratura Kerry Walsh is a dynamic performer whose repertoire ranges from early through modern, chamber music, theatre, opera and concert, and encompasses standard classical and romantic operatic literature. A specialist in contemporary opera, she is sought after as an interpreter of new works, and has brought numerous roles to life. A flutist as well as singer, she brings stunning musicianship to all she does, combining masterful technique with exquisite musicality and expressiveness.
Ms. Walsh has sung 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. Her roles include Constanze, Mimi, Rosina, Violetta, Lucia, Fiordiligi, Carmen, Leila, Amelia, Giuliette, the Marschallin and the Queen of the Night, which she has also recorded for the film soundtrack of Radioland Murders. Her musical theater engagements have included Lady Thiang in The King and I and the Princess in The Unsinkable Molly Brown. She frequently appears with orchestras as featured soloist in both traditional and contemporary selections. Favorite repertoire includes Villa-Lobos’ Bachianas Brasileiras, Bachalet’s Chere Nuit, Mozart’s Exultate Jubilate, and selections from Carmen with Flamenco dance.
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 in Berlin as a Fulbright Scholar. Her work in Germany and Switzerland led to collaborative and solo projects combining dance, voice, flute and theater. Upon moving to Los Angeles, she continued to explore the fusion of these art forms, and also wrote, designed and choreographed a well received pieced based on Japanese folk legend. She often adds choreography, flute and theatrical elements to both her concert and operatic performances. Ms. Walsh has also performed as an actress for stage, television and film, and is featured in the upcoming independent film Reflex. Her knowledge of a wide variety of musical styles has been valuable in relation to the TV and film industries as well; she has sung on many soundtracks, and can be heard both playing the flute and singing in The Matrix Reloaded and The Matrix Revolutions. Her solo in Reloaded, a fusion of Brazilian Bossa Nova and jazzy French song, is a distinct contrast to her dramatic opera repertoire.
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; “…she 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 Idomineo “…was sung beautifully by (Ms. Walsh.) Her voice was rich, strong and thrilling…her voice was 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 voice was 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.”
Upcoming engagements for Ms. Walsh include a recording of operatic duets with tenor José Luis Duval and the Mexico City Symphony; the title role in Kali, to be premiered in Berlin and performed throughout Europe, Asia and the United States; and the role of Antonia in Rio de Sangre by Don Davis, to be premiered with the LA Master Chorale in the new Disney Hall.