"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
“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.
"[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..."
"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
Soprano Charlotte Mundy inhabits repertoire ranging from renaissance lute songs to the newest experiments in music, theatre and dance with a precise, kaleidoscopic command of pitch and timbre, and a direct, unaffected stage presence. Her performances have been described as "mesmerizing," "preternaturally focused" (NYTimes), "unaffected and richly expressive" (Sequenza21) , with "sustained pitches that changed color as gorgeously as deciduous autumn leaves in a time-lapse video" (SF Classical Voice). Upcoming engagements include Iannis Xenakis' Akanthos and Jonathan Harvey's Song Offering with Ensemble Échappé, Henning Christiansen's opera Dejligt vejr i dag... in NYC and Copenhagen, a European tour with Glassfarm Ensemble and performances at the Library of Congress, Stanford, Boston, Minneapolis and Winnipeg with TAK Ensemble.
As a soloist, Mundy has given critically acclaimed performances of Schoenberg's Pierrot Lunaire, Boulez's Le Marteau sans Maître, Feldman's Three Voices and Messiaen's Poemes Pour Mí. She has performed programs for solo voice and electronics for presenters including Qubit Collective, the Open Ears Festival and Constellation, Chicago, and acoustic programs with piano or guitar at the Center for New Music (San Francisco), Montclair State University, Bay Chamber Festival, and the Brooklyn Historical Society.
Mundy is especially passionate about interdisciplinary work. She acted and sang in A Star Has Burnt My Eye at the BAM Next Wave Festival and Power of Emotion at the Public Theatre’s Under the Radar Festival, understudied Ashley Fure’s opera for objects, The Force of Things, presented by Lincoln Center, danced while singing music by Kaija Saariaho, Karin Rehnqvist, John Cage and Morton Feldman with New Chamber Ballet, wrote and performed music for a dance by Julia Bengtsson that was presented by Periapsis Dance series, performed as a roving musician in Martin Creed’s 2016 installation, The Back Door, at the Park Avenue Armory, performed a staged, memorized version of David Lang's Little Match Girl Passion at the Metropolitan Museum, sang John Cage's Songbook and Julius Eastman's Macle with the legendary SEM ensemble in Poland.
Mundy regularly "slays the thorniest material like it's nothing" (WQXR) with TAK ensemble, whose debut album, Ecstatic Music, was listed as a top 10 classical recording of 2016 by the Boston Globe. She hosted weekday afternoons on Q2music, a Peabody Award-winning affiliate of WQXR dedicated to contemporary music, from 2012-16.
Mundy holds degrees from the Manhattan School of Music's Contemporary Performance Program, where she studied with Lucy Shelton, and the University of Toronto Faculty of Music.
When not making music she enjoys running, biking, reading, and going to see experimental theatre, independent film and visual art.