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Biography

Soprano Kathleen Berger returned to Arizona in 2013 after 20 years away, and immediately leaped feet-first into nonstop performing. Currently, she plays Solange LaFitte in Theater Works’ critically acclaimed Arizona premiere of Sondheim’s Follies. She most recently appeared as Velma Von Tussle in Hairspray at Desert Foothills Theater, as Miss Jones in How to Succeed in Business Without Really Trying and as the soprano soloist in I Get a Kick Out of Cole at TheaterWorks, as Lucy in You’re a Good Man, Charlie Brown and as Woman #2 in I Love You, You’re Perfect, Now Change at Fountain Hills Theater, and as Rose Lennox in Arizona Broadway Theatre’s critically acclaimed production of The Secret Garden. She debuted as the soprano soloist in Brahms’ Ein deutches Requiem with the Yavapai College Master Chorale, and in Mozart’s Requiem with the Glendale College Chorus and Orchestra. In addition, she played Sugar Baby in a premiere staged reading of Christopher Scinto’s jazz opera The Ballad of Downtown Jake, at Paradise Valley College. She jumped in 48 hours before opening night as a Nun/Baroness Elberfeld/Sister Margaretta (cover) in Arizona Broadway Theatre’s The Sound of Music. This was the culmination of a busy 2013/2014 season, in which she appeared as the Erste Dame in Die Zauberflöte with Opera Duende in Almería, Spain, in recital in “Mozart: Sacred and Profane” with Southwest Chamber Arts in Arizona, as Rosina in Il barbiere di Siviglia with Concerlírica Ópera Internacional and the National Opera of Odessa on tour in Spain, and in recital at the Ateneo de Madrid and the Palacio Foz (Lisboa, Portugal) with mezzo-soprano Katherine Marriott and pianists Joe Coronado and Andrea Luisa Teixeira, performing a program dedicated to baroque and 20th-century music. In 2012-13, she debuted as the Countess Almaviva in Le nozze di Figaro and appeared as the soprano soloist in a gala concert with the Fundación Prolírica de Antioquia in Medellín, Colombia, then gave a recital of all-baroque compositions with Southwest Chamber Arts, appeared as Musetta in La Bohème with Concerlírica Ópera Internacional in Abarán and Puente Genil, Spain, and was a guest artist in recital with Kristin Dauphinais, mezzo-soprano, at the University of Arizona.

Previously she sang Violetta in La traviata and Adina in L’Elisir d’Amore with Concerlírica Ópera Internacional in theaters throughout the Andalucía region of Spain and gave recitals in Fountain Hills (AZ), Zamora, Huelva and Madrid. She debuted with St. Petersburg Opera in Florida as the Witch in Into the Woods (“Kathleen Berger’s Witch came into her glamorous own in Act 2 with a spellbinding Last Midnight” – St. Petersburg Times) and created the role of Jenny Lind in the world premiere of “The Pervasive Echo,” a performance art piece by Ruth Sacks, for the Performa Music Festival in New York City. She is the only American artist to ever perform with Compañía Lírica Dolores Marco in Spain, in solo roles in both Zarzuelas y Revistas and El Gran Género Chico.


Ms. Berger gave a recital tour, performing to standing-room-only crowds throughout the Castilla y León region in Spain, as the first classical artist to perform with the festival Músicos en la Naturaleza (“The great interpretive gifts of Kathleen Berger served to put the public in her pocket, ensuring that the audience supported the singer from the first moment. But in addition to her charm, one cannot overlook the extraordinary quality of her voice.” – La Gaceta de Salamanca). As a result, she was featured as the cover artist of the magazine “Con M de Música,” a publication of “El Mundo.” She appeared to critical acclaim as Musetta at the Teatro Municipal de La Velada in Línea de la Concepcion and in the 4,000-seat Palacio de Deportes in Salamanca, and repeated her Violetta at Teatro José Maria Rodero in Torrejón de Árdoz.


Ms. Berger was the first classical artist to perform with the festival Músicos en la Naturaleza (“The great interpretive gifts of Kathleen Berger served to put the public in her pocket, ensuring that the audience supported the singer from the first moment. But in addition to her charm, one cannot overlook the extraordinary quality of her voice.” – La Gaceta de Salamanca). As a result, she was featured as the cover artist of the magazine “Con M de Música,” a publication of “El Mundo.” She appeared to critical acclaim as Musetta at the Teatro Municipal de La Velada in Línea de la Concepcion and in the 4,000-seat Palacio de Deportes in Salamanca, and repeated her Violetta at Teatro José Maria Rodero in Torrejón de Árdoz.


Kathleen Berger currently lives in an undisclosed suburb of Phoenix with her husband and the Four Kitties of the Apocalypse. Her upcoming engagements include the soprano solos in Mozart’s Vesperae Solennes de Confessore at Glendale College, and “Viva Divas!”, a recital with soprano Julie Wyma, presented by Theater Works.

 



Press

"Kathleen Berger's "Love For Sale" is perfectly sung, with intense emotions. Her "I Love Paris" and "So in Love" include some lovely moments as well, with Berger's singing in her higher register quite effective."
Gil BenBrook, Talkin'Broadway.com, September 2014

"There's actually a ton of talent onstage, starting with soprano Kathleen Berger, who…gives a lovely rendition of "In the Still of the Night."…” - Kerry Lengel, The Arizona Republic, September 11, 2014

"Kathleen Berger’s singing accomplishments insure that she brings the right look and sound to her tunes… ."
Chris Curcio, Curtain Up Phoenix, September 15, 2014

"Matthew Curtis and Kathleen Berger are perfect as Mary's parents (in The Secret Garden). Berger excels in the "Quartet" she sings with Kleinman, Thompson and Berger (her actual brother)…."
Gil BenBrook, Talkin'Broadway.com, April 2014

"Kathleen Berger’s Witch came into her glamorous own in Act 2 with a spellbinding Last Midnight."
St. Petersburg Times, September 13, 2009

"The great interpretive gifts of Kathleen Berger served to put the public in her pocket, ensuring that the audience supported the singer from the first moment. But in addition to her charm, one cannot overlook the extraordinary quality of her voice, perfectly seconded at the piano by her compatriot Eric Malson."
La Gaceta de Salamanca, July 24, 2007

"…The most significant moments of the production came to life in the famous "Mad scene." Particularly celebrated by the public were the work of...Victor Lemko, in charge of the musical direction...but especially the brilliance of the invited soloist who played the role of Lucia, the North American soprano Kathleen Berger."
Torremolinos Noticias, September 15, 2006

"Kathleen Berger… threw herself perfectly into the character of Violetta and lived and communicated her pain, her disillusionment and her resignation...she was without fail absolutely correct and secure in all her phrasing, with thrilling moments such as "Amami, Alfredo" or the awaited "Sempre libera," where she reached the E flat easily."
Ópera Actual, April 2006