photo: Tayla Nebesky

photo: Tayla Nebesky

Press

"The final performance of the evening was given over to a mesmerizing rendition of Morton Feldman’s “Three Voices” for voice and tape by the preternaturally focused Canadian soprano Charlotte Mundy, with meticulously balanced electronics by Elliot Cole...Here, in front of a magically cough-free audience, the quiet, swirling textures of Feldman’s hypnotic work were able to unfold in all their subtle, unhurried grandeur."

The New York Times. Feldman's 'Three Voices' with the Resonant Bodies Festival

superb

—Steve Smith, The New Yorker

“Mundy and Sugiyama sound like daredevils with unbreakable spines

“Even these opening phrases showcased the staggering plasticity of Mundy’s voice: On a dime, she shifted from white, almost breathy tones to sounds so suffused with core that they nearly overwhelmed the small space.

“At times, Mundy sang sustained pitches that changed color as gorgeously as deciduous autumn leaves in a time-lapse video.” 

- SF Classical Voice. Recital of Messaien, Saariaho and Rhode at the Center for New Music.

“The piece is also brutal in its use of violence ... it was exceptionally clear in the messa di voce that Charlotte Mundy raised to a heartrending scream that managed to freeze the hearts of the public.

-David Santana, Codalario

"[Mundy]’s legato was effortless and silvery."

New York Classical Review.  Holliger's '4 Miniatures' with Trinity Wall Street Music

"like stepping into a haunted dreamland... Charlotte Mundy and Jean Rohe sound particularly celestial, and capture the songs' sparse, timeless grace." 

The New York Times. 'A Star Has Burnt My Eye' at the BAM Next Wave Festival

 

"Mundy’s voice roved from a low snarl all the way up to piercing high notes, and she adopted playful expressions throughout, ramping up to brash mockery as she speech-sang the words “withered whore.” At times her voice glinted like the moonlight on the scimitar that she sang of, and at others it seemed to float out uncannily...Although I was present merely as a curious audience member, I quickly rooted through my bag for my notebook to scribble some observations and praise for this remarkably arresting interpretation."

I Care If You Listen. 'Pierrot Lunaire' with Tenth Intervention

 

"Charlotte Mundy closed the night with Feldman’s Three Voices...Mundy’s voice is well-suited to this music: pure and direct, it gives clarity to the seas of half-steps and ease to the cascading lines, like whirling snow; unaffected and slightly plaintive, even the most mechanical patterns seemed to have an emotional core. There is often an inclination to perform Feldman as flat as possible, but she brought out, in subtle but illuminating ways, its not undramatic rhetoric."

Sequenza 21. Feldman's 'Three Voices' with Resonant Bodies Festival

"A distinctive, down-to-earth, disarmingly individualistic singer... the way she rose from a completely unadorned, intimate delivery to striking highs with just a tinge of gentle vibrato made it seem as if she was singing directly to everyone individually." 

Lucid Culture

"Ricketts began with a very strong work, mostly comprised of Mundy’s exquisite voice ducking in and out of spaces left by the flute and clarinet...the vocal writing for Mundy demonstrated her absolute finesse as a singer and performer..."

Oneirics

"Charlotte Mundy produced her strikingly clear, wordless tones in a way that ceaselessly annoyed her sister, danced by Amber Neff. Both Ms. Mundy and Ms. Neff proved to be subtle actresses, and the soprano's slender figure allowed her to participate in elements of dance with total conviction."

Oberon’s Grove

“Remembrance,” a tribute to a late colleague, offered four sonnets by Shakespeare set in tart, gangly lines, well sung by Charlotte Mundy, a soprano."

New York Times


About

Soprano Charlotte Mundy specializes in music that is new, daring and sublime. She has been called a "daredevil with an unbreakable spine" (SF Classical Voice), and her performances have been described as "an oasis of radiant beauty" (NYTimes) and "marvellously appealing" (The Log).  Mundy was awarded the Jan DeGaetani prize for contemporary song performance from the 2019 Joy in Singing Competition, and has performed with the Brooklyn Art Song Society, New York Festival of Song and Resonant Bodies Festival. She has appeared as a soloist at the Metropolitan Museum, Park Avenue Armory, BAM Next Wave Festival and the Library of Congress and given critically acclaimed renditions of Schoenberg's Pierrot Lunaire, Boulez's Le Marteau sans Maître, Feldman's Three Voices and Messiaen's Poémes Pour Mí.

In the 2018/19 season Mundy performed John Cage's Songbook and Julius Eastman's Macle with SEM ensemble in Poland and NYC, Xenakis' Akanthos with Ensemble Échappé in NYC, Henning Christiansen's fluxus-era opera Dejligt Vejr i Dag with Apartment House in Copenhagen, and a program of contemporary chamber music with Glass Farm Ensemble in Madrid and Basel. She acted and sang in The Apartment at Abrons Arts Center and danced while singing the music of Morton Feldman and Kaija Saariaho with New Chamber Ballet. A passionate chamber musician, Mundy "slays the thorniest material like it's nothing" (WQXR) with TAK ensemble at venues including Issue Project Room, Miller Theater and the Look and Listen festival; she sings stratospheric microtonal lines with Ekmeles vocal ensemble at venues including The Kitchen and Philadelphia's Rotunda.

Mundy was a host of WQXR's new music station, Q2music, from 2012-2015 and is currently working on a podcast to be launched fall 2019. Her compositions have been featured on the Resonant Bodies Festival, Chance and Circumstance Festival, Periapsis Music and Dance festival, Higher Ground festival and Broad Statements. She has lectured on writing for voice and participated in readings, workshops and performances of student compositions at institutions including Columbia University, Princeton, Yale, Stanford, Cornell, McGill, and Juilliard. Mundy studied at the Contemporary Performance Program at the Manhattan School of Music, and the Faculty of Music at the University of Toronto.

Aside from making music, Charlotte enjoys meditating, seeing brand new theatre and visual art, trying new food, browsing at Enfleurage and Kalustyan's, reading, running, riding boats of all sizes and taking flying trapeze classes. She was raised in Toronto by a treasurer and a cheese merchant and currently resides in Brooklyn. Anyone who has made it to the end of this bio is cordially invited to subscribe to the Mundy Monthly newsletter and follow @charl_ttemundy on Instagram.