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| | Krull Marguerite | | soprano | 
| Miss Krull begins her 2002-03 with debuts in Lausanne, Bordeaux and Madrid in the title role of Martin y Soler's La Capricciosa Corretta, and later in the season debuts in Leipzig in the title role of Melani's L'Empio Punito, both productions with Christophe Rousset and Les Talens Lyriques. |
| Her 2001-2002 season saw returns to Washington Opera as Despina in Cosi fan tutte and Baltimore Opera as Pamina in Die Zauberflöte. In the summer of that season, she returned to the Caramoor International Musical Festival to sing Desdemona in Rossini's Otello, her Willow Song being hailed by Opera News as 'the most finely shaded and shaped singing of the evening, for which the audience rewarded her with the highest compliment: awed silence." |
| Miss Krull's 2000-2001 season began with a Berkshire Opera debut as Giulietta in I Capuleti e i Montecchi, and she was praised by the press as 'ethereal, an ideal stage picture of the emotionally vulnerable teenager, there was an affecting poignancy in her secure singing; and she possesses the requisite trills and coloratura facility to create vocal fireworks.' |
| She then returned to New York City Opera in Le Nozze di Figaro as Cherubino and was dubbed by the Dallas Morning News as 'a brilliant standout.' Other debuts that season included Austin Lyric Opera as Micaela in Carmen, and a Carnegie Hall debut as the soprano soloist in the Mozart Requiem. In the fall of 2003, she will debut with the Lyric Opera of Chicago as Cherubino. |
| Her 1999-2000 season included a critically acclaimed South American debut as Marie in La Fille du régiment at the Teatro Colon in Bogotá. She was then immediately asked to step into the role of Oscar in Un Ballo in maschera, with only a week to learn the role, and was praised for her performance by press and public alike. |
| Ms. Krull continued her season with a Baltimore Opera debut in a soprano version of the title role of La Cenerentola, and a return to Washington Opera as Sesto in Giulio Cesare, which the Washington Post hailed as 'fully limned into a convincingly adolescent spark plug, bubbling with oedipal desires and steeled to the purpose of revenge.' |
| Other recent engagements of note have been her New York City Opera debut in the title role of L'enfant et les sortilèges; Ninetta in La Gazza ladra and a recital with pianist Garrick Ohlsson, both at Caramoor; a United Kingdom debut as Fiorilla in Il Turco in Italia with Broomhill Opera; Don Ramiro in La Finta Giardiniera at both Washington Opera and Glimmerglass Opera and Sesto in Giulio Cesare with the Boston Handel and Haydn Society under the baton of Christopher Hogwood. |
| On the concert and oratorio stage she has sung a varied number of works, including Harbison's Mirabei Songs with the New York Philharmonic, Barber's Knoxville, Summer of 1915 with Richmond Symphony (IN), Bach's St. Matthew Passion at the Brooklyn Academy of Music (staged by Jonathan Miller), Bach's Magnificat and B Minor Mass with the Bethlehem Bach Choir, Mozart's Mass in C Minor with the Buffalo Philharmonic, the Mozart Requiem with the Orlando Philharmonic, Mozart's Exultate, jubilate and Mahler's Fourth Symphony with Peoria Symphony, and La Morte di San Giuseppe (Pergolesi) with the New York Collegium. |
| In addition to Mr. Hogwood, Ms. Krull has sung with conductors including Patrick Summers, Heinz Fricke, Jane Glover, George Manahan, Stewart Robertson, Bruce Hangen, Fabio Biondi, Will Crutchfield, Karen Keltner and Bernard Labadie. She has collaborated with stage directors such as Jonathan Miller, Mark Lamos, Simon Callow, Michael Hampe, Frank Corsaro, Dona D. Vaughn, Dorothy Danner, and David Gately. A 2000 winner of the Sullivan Foundation Awards, Ms. Krull was also the most recent recipient of the prestigious Marian Anderson Foundation Award. |
| She is a recipient of the Richard R. Gold Career Grant and has been spotlighted twice in Opera News's 'Keep your eye on' column. |
| A native of Ann Arbor, Michigan, Ms. Krull received her Bachelor of Music degree in Piano Performance from Peabody Conservatory and her Masters degree in Voice Performance from the State University of New York at Stony Brook.@ |
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