Commended by the Boston Globe for her "crystalline tone and graceful musicality", soprano Sonja DuToit Tengblad is a versatile performer with credits spanning the Renaissance era through the most current composers of our time. Recent highlights include Monteverdi’s Il ritorno d’Ulisse in patria with Boston Baroque (as La Fortuna and Giunone), Handel's Acis and Galatea with the Blue Hill Bach Festival (Galatea), appearances with the Handel and Haydn Society in Purcell’s King Arthur (Cupid) and Handel's Samson (Israelite Woman), Knussen’s Symphony No. 2 for high soprano with the Boston Modern Orchestra Project, and her Carnegie Hall and Lincoln Center debuts, both with the New York City Chamber Orchestra. She was awarded 2nd place in the 2014 American Prize competition's art song and oratorio division.
A lover of new music, Ms. Tengblad has premiered many roles and works including the Boston premiere of Kati Agocs' Vessel for three solo voices and chamber ensemble with the Boston Modern Orchestra Project (recording to be released this year), and the role of Maria in Diego Luzuriaga's El Niño de los Andes with VocalEssence of Minnesota. A highlight for Ms. Tengblad was appearing in a concert celebrating the 80th birthday of composer Dominic Argento (in attendance) for which the Minnesota Star Tribune reported her to have given "the most affective performance of the evening". The 2014-2015 season will feature a collaboration with the laudable Shirish Korde ensemble (www.shirishkorde.com) on a film score depicting the experiences of female war veterans, and the continuation of her recital project with percussionist Jonathan Hess, Talking Drums, that will premiere works by Adam Simon, Matthew Peterson, and Emmy award-winning composer Kareen Roustom.
Ms. Tengblad performs with the 5-time Grammy-nominated ensemble Conspirare out of Austin, Texas; the Yale Choral Artists, and Boston’s Blue Heron, Lorelei Ensemble, Handel and Haydn Society, Boston Baroque, and Emmanuel Music. Upcoming appearances include Messiah with the New Bedford Symphony, Mozart's Waisenhausmesse with the Handel and Haydn Society, and Carmina Burana with the Austin Symphony.
|October 10th & 12th||Handel and Haydn Society||Baroque Fireworks (Chorus)|
|October 17th & 18th||Blue Heron||Peterhouse (Ensemble)|
|Oct.31st & Nov. 2nd||Lorelei Ensemble||Americana (Ensemble & Soloist)|
|November 9th||Coro Allegro||Alexander deVaron Songs for a Waxing Moon (Soloist)|
|November 14th||Lorelei Ensemble||Residency, Pittsburg State University|
|November 30th||New Bedford Symphony||Handel Messiah (Soloist)|
|December 4th - 10th||Conspirare||Christmas at the Carillon (Ensemble)|
|December 18th & 21st||Handel and Haydn Society||Scarlatti cantata Pastorale per la Nativita di Nostro
Signore Gesu Cristo (Soloist and concert ensemble)
|January 24th||Boston Modern Orchestra Project and Lorelei Ensemble||*World premiere by Kati Agocs (written for Lorelei and BMOP)|
|February 13th-15th||Handey and Haydn Society||Mozart Waisenhausmesse (Soloist)|
|February 12th -15th||Lorelei Ensemble||Macalester College residency (MN)|
|February 20th||Lorelei Ensemble||Sloan Merrill Gallery|
|February 21st & 23rd||Handel and Haydn Society||Vivaldi Gloria (Soloist & Chorus)|
|March 1st||Oratorio Chorale||Bach Magnificat (Soloist)|
|March 6th and 8th||Handel and Haydn Society||Mendelssohn Elijah (Ensemble)|
|March 21st & 22nd||Handel and Haydn Society||Vivaldi cantata Nulla in mundo pax sincera (Soloist and concert ensemble)|
|March 27th & 29th||Handel and Haydn Society||Bach St. Matthew Passion (Ensemble)|
|April 17th & 18th||Blue Heron||Chicago and Milwaukee tour|
|April 20th - 25th||Shirish Korde Ensemble||Even the Women (Soloist) *World premiere|
|May 1st and 3rd||Handel and Haydn Society||Haydn Creation (Ensemble)|
|May 7th - 10th||Conspirare||(Ensemble)|
|May 22nd & 23rd||Lorelei Ensemble||(Ensemble)|
|May 29th & 30th||Austin Symphony||Orff Carmina Burana (Soloist)|
|June 18th||Handel and Haydn Society||Chorus America|
|July 19th & 20th||Lorelei Ensemble||Chorus America|
|July 30th - August 1st||Blue Hill Bach Festival (Blue Hill, Maine)||(Soloist)|
Past Notable Solo Performances, 2008-2013
|June 2014||Blue Hill Bach Festival (Blue Hill, Maine)||Handel Acis and Galatea (Galatea)|
|May & June 2014||Chorus of Westerly (Prague, Vienna & Budapest tour)||Dvorak Stabat Mater (Soloist)|
|May 2014||Handel and Haydn Society||Handel Samson (Israelite Woman & Chorus)|
|April 2014||Boston Baroque||Monteverdi Il ritorno d'Ulisse in patria (La Fortuna & Giunone)|
|January 2014||Emmanuel Music||Sondheim's A Little Night Music (Mrs. Nordstrom)|
|November 2013||Boston Modern Orchestra Project||Thomson Four Saints in Three Acts (St. Celeste & Opera Chorus)|
|April 2013||Boston Modern Orchestra Project||Oliver Knussen Symphony No. 2 for Orchestra and High Soprano|
|March 2013||New York City Chamber Orchestra, Lincoln Center||Poulenc Gloria|
|January 2013||Handel and Haydn Society||Purcell King Arthur (Cupid) & Indian Queen, Masque of Hymen (Married Couple)|
|December 2012 & 2011||Handel and Haydn Society||Bach Christmas Oratorio|
|July 2012||Oregon Bach Festival||Johnson This House of Peace|
|November 2011||Boston Modern Orchestra Project||Kati Agocs Vessel (Soprano 1) *American premiere|
|November 2011||National Lutheran Choir||Brahms Ein Deutsches Requiem|
|March 2011||Newton Baroque / Exultemus||Telemann Harmonischer Göttesdienst Cantatas|
|March 2011||New York City Chamber Orchestra, Carnegie Hall
|May 2010||Back Bay Chorale||Bach B Minor Mass (2nd soprano)|
|January 2010||NEC Opera Department||Mozart Le Nozza di Figaro (Susanna)|
|December 2008||VocalEssence||Luzuriaga, El Niño de los Andes (Maria) *world premiere|
|June 2008||VocalEssence||Matthus Te Deum *American premiere|
St. Matthew Passion, Bach (recit)
St. Matthew Passion, Bach (aria)
- From the Boston Classical Review
"Unfortunately, lights in the hall were too low to follow the text during the performance, but soprano Sonja Tengblad's clear diction helped remedy that. Tengblad's extraordinarily pure tone, with moderate vibrato, was consistent across her wide range, from stratospheric soft high notes to strong low ones, and made a fine timbral match with the orchestra’s prominent woodwinds, especially flutes and horns. Tengblad's performance strove for no big effects, but instead subtly declaimed the texts and helped weave the work's dark atmosphere. (The piece contained few explicit musical images, except when scurrying strings announced the arrival of Trakl's "Rats.") The soprano negotiated Knussen's disjunct vocal line with the kind of pinpoint intonation and consistency of tone that made it, too, seem perfectly natural. At the piece’s end, her flute-like voice gave way to the sound of an actual flute, playing all by itself."
"That fellow Cupid gets around, warming up even the most icebound places on Earth, as depicted in the "Frost Scene" from Dryden's and Purcell's King Arthur. Soprano Tengblad as the god was animated and bell-toned as she summoned the wintry spirit Cold Genius from under the frozen ground."
"The standout among the soloists Saturday night was soprano Sonja Tengblad, who teamed up with percussionist Jonathan Hess for Tan Dun's Silk Road (1989) ... Tengblad's is a multi-textured, crystalline-toned voice especially suited for avant-garde music. Her singing was clear and expressive across the piece's range of clarion pointillisms, vocal slides, whispers, and hisses."
- From the Boston Globe
"Sonja Tengblad sang with crystalline tone and graceful musicality."
"The evening closed with a superb performance of Knussen's 1971 Symphony No. 2, premiered when he was 19, already showing full modernist assurance. Poems by Georg Trakl and Sylvia Plath (sung by soprano Sonja Tengblad, her voice floating through the texture like an elegantly exacting ghost) trace a long, expressionistically uneasy night; the music teems and broods, motion often seemingly compressed into vertical layers of counterpoint."
- From the Boston Musical Intellegencer
"The evening's absolute standout was Tengblad who navigated the soprano role of Knussen's Symphony No. 2 (1971) with gentle poise even in the highest reaches of her voice."