Charlotte Mundy is a classically trained, "preternaturally focused Canadian soprano" (NYTimes) who is passionate about working closely with others to explore the newest fringes of music and performance. She "slays the thorniest material like it's nothing" (WQXR) with TAK ensemble, sings stratospherically high microtonal lines with Ekmeles vocal ensemble, and oscillates between thorny new complexity duels and supremely beautiful duets with guitarist Jordan Dodson. As a soloist she has given critically acclaimed performances of Schoenberg's Pierrot Lunaire, Boulez's Le Marteau sans Maître, and Feldman's Three Voices. Also fascinated by interdisciplinary projects, she has performed in the BAM Next Wave Festival, the Under the Radar Festival, at St. Ann's Warehouse, and the Park Avenue Armory working with theater makers Paul Lazar, Cynthia Hopkins, Katie Brook and Rachel Chavkin, visual artist Martin Creed and choreographer Miro Magloire. Mundy is honoured to sing sixteenth century mass settings every Sunday at the Church of Saint Mary the Virgin under David Hurd and to host weekday afternoons on Q2music, a Peabody Award-winning affiliate of WQXR dedicated to contemporary music.
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.
"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 (Sept. 2013)
"Best quintuplets ever!"
- composer David Lang
"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 (February 2015)
"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 (Nov. 2016)
"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 (Sept. 2013)
"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 (May 2014)
"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 (May 2013)
"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 (June 2013)
“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 (Sept. 2012)