Katherine Eberle is an active and versatile mezzo-soprano soloist. Her career includes a wide array of professional and collegiate engagements in both the United States and abroad. She specializes in oratorio, chamber music, art song, musical theater, and opera.
In the past twenty years Eberle has performed with many orchestras, choral organizations, and chamber music groups. Concert credits include solo performances with the symphonies of Detroit, Lansing, and Saginaw (Michigan) and Atlanta, Macon, Rome, and Valdosta (Georgia), Oshkosh (Wisconsin) and with the Southeast Iowa Orchestra. She has sung in master class recitals at the ’sHertogenbosch International Vocal competition in the Netherlands, the Carmel Bach Festival, Carmel, California, and the Mozarteum, Salzburg, Austria. In opera, she has performed the roles of Julia Child in "Bon Appetit," Joan of Arc in "Jehanne de Lorraine," Hansel in "Hansel and Gretel," Mrs. Herring in "Albert Herring," Dame Quickly in "Falstaff," and the Mother in "Amahl and the Night Visitors." Eberle has appeared at the Academy of the West Opera, Santa Barbara, California; the Aspen Festival Opera Theatre, Aspen, Colorado; and the Opera de Lille, France. At The Universities of Iowa and Georgia, Eberle has appeared as soloist with choir and orchestra in more than one hundred and twenty performances.
Eberle made her New York debut at Weill Recital Hall, Carnegie Hall in 1994. Additionally, she has given over one hundred solo recitals as a guest artist in eighteen states and in Argentina, Brazil, Ecuador, England, Ireland, Korea, Peru, Russia, St. John and St. Thomas, Virgin Islands, Trinidad, and Tobago. She served as an Artistic Ambassador for the United States State Department in 1994 and 1995. Eberle presented a concert of Canadian Women composers at the Toronto Heliconian Club and at the Christ Church Cathedral Music Series in Montreal, Canada in 2006.
In addition to the standard repertoire, Eberle has worked to expand the boundaries of vocal performance, from staging seldom heard works and the work of lesser known composers to developing new and unconventional repertoire for voice and solo instrument:
· In 2013 Katherine Eberle recorded In This Moment: Women and Their Songs, Music of American Women Composers (released by Albany Records). Eberle performs art songs for voice and piano of composers Julianna Hall, Lori Laitmen, Libby Larsen, and Judith Cloud. With Ksenia Nosikova, pianist.
·In 2003, 2005, and 2012 she held appointments at the Obermann Center for Advanced Studies for Career Development, at The University of Iowa. The appointments allowed her to pursue research on Perceptual Accoustic Assessment, Canadian Women Composers, and American Women Composers, all of which resulted in publications in the Journal of Singing. Her annotated bibliography of Canadian Art Song for mezzo-soprano was published in 2008. In August 2005, Eberle gave lecture presentations at the International Congress of Voice Teachers, Vancouver, BC, Canada, and at the International Conference of Contemporary Music at the Moscow Conservatory, in Moscow, Russia.
· In 2010 she produced a DVD recording of her one woman show, titled “Pauline Viardot: Composer, Singer, Forgotten Muse”, in which she portrays the operatic diva talking about her life and singing her songs set to a monologue written by Maggie Conroy, playwright, and re-enacted through the direction of Gary Briggle, stage director. It is available through Amazon.com.
· New music interests have led Eberle to commission works for harp and voice by David Gompper, Martin Jenni, and the Greek composer, Katarina Stammatalos. In April 2001 she premiered Stammatelos's "Cantata" with The University of Iowa Chamber Orchestra. She commissioned and premiered Lawrence Fritts’s “Natural Language,” with Digital Visual Imagery by Sue Hettmansperger in 2004. She presented a lecture at the International Conference, titled "Camouflage: Art, Science and Popular Culture," at the University of Northern Iowa, Cedar Falls, Iowa, in 2006.
· She has performed contemporary one-act monodramas using minimal props and staging, and shared her research in this area in the publication of an annotated bibliography: "American Operatic Monodramas" in the Sept./Oct. 1999 issue of The Journal of Singing. In 2004 she delivered a lecture on the subject of Operatic Monodramas at the Hawaii International Conference on Arts and Humanities.
· In the area of chamber music, Eberle has appeared frequently with The University of Iowa Center For New Music, performing such works as Schoenberg's "Pierrot Lunaire", Britten's "Phaedra", Jaffe's "Four Pieces with Ensemble," Berio's "Folk Songs."
· Eberle researched and assembled an unusual collection of art songs by women composers, which has been well received in numerous concerts. She produced a compact disc recording of several of these works in 1993, entitled From a Woman’s Perspective (Vienna Modern Masters).
Eberle’s research projects include a search for previously unrecorded 20th century American art songs and the development of visual and aural training tools to enable voice teachers to assess vocal qualities in their students. Her article "Perceptual Acoustic Assessment of Singing" is published in the Journal of Voice in 2006. She has developed a video-teleconferencing program for giving master classes over the Internet. Through a generous grant from The University of Iowa Academic Technologies, Eberle purchased Polycom View Station equipment which accesses a 10/100 ethernet connection. Successful master classes have already been exchanged between The University of Iowa and The Cleveland Institute of Music, the University of Nebraska, Bowling Green State University, and the Universität Lüneburg (Germany). Her publication "Enhancing Voice Teaching with Technology" found in The Journal of Singing, Vol.59 No. 3, (January/February 2003) highlights this work.
Eberle’s extensive performing schedule has not deterred her active work as a clinician and master class teacher. Since 1985 she has given twenty-five college-level master classes in ten states as well as in Argentina, Korea, Peru, and most recently Brazil. Another twenty high school-level vocal workshops in Iowa and Georgia have introduced young, aspiring artists to her pedagogical ideas. She has given multiple master classes at The University of Iowa All State Music Camp for singers. She also taught three summer sessions for the Evening and Weekend College at The University of Iowa where the focus was on methods of teaching vocal technique, style, diction and repertoire to high school singers. Since 2000, Eberle has been a guest lecturer at the Summer Vocology Institute at the National Center for Voice and Speech and the Denver Center for the Performing Arts.
Ms. Eberle’s competitions and vocal awards include honors from the National Association of Teachers of Singing, the National Federation of Music Clubs, the Atlanta Pro-Mozart Society, and the University of Michigan. At The University of Georgia she was awarded a Lilly Fellow Grant in 1989 for her research on teaching with video camera. She was also awarded a Sarah Moss Grant in 1990 for her study of opera and art song at the Academy of the West in Santa Barbara, California. In 2003 she was awarded the 13th Annual Van Lawrence Fellowship Award, given for "demonstrated excellence in teaching of singing and active interest in voice science and pedagogy."
She was the State President of the National Association of Teachers of Singing from 1998 to 2000, and has adjudicated since 1985 at various vocal competitions, and the Metropolitan Opera National Council Auditions.
Eberle has earned degrees from Baldwin-Wallace Conservatory (BME), The University of Cincinnati (MM), and The University of Michigan (DMA), where she studied under Beverly Rinaldi and Martin Katz. Her academic expertise has led to invitations to serve as guest voice instructor at the Cleveland Institute of Music, Ohio (1997), and at Chennam University in Kwangju, Korea (1995). She is currently a Professor at The University of Iowa, where she chaired the School of Music Voice Area for seven years. Previously she taught at The University of Georgia School of Music for five years, and the Interlochen Center for the Arts Summer Camp for seven years.
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