The American mezzo-soprano, Deborah Rentz-Moore, is a soloist in early music, oratorio and contemporary works, and has performed with some of the most celebrated ensembles in North America, including the Handel & Haydn Society, Emmanuel Music, The Boston Camerata, The Boston Early Music Festival, Aston Magna, Publick Musick, New York Collegium, Magnificat, and the Mark Morris Dance Group.
Although specializing in vocal works of the Renaissance and Baroque periods, Deborah Rentz-Moore’s work encompasses many vocal styles. She has been a featured soloist with the Boston Camerata since 1999. In addition to her performances in their medieval, renaissance and early American repertoire, she is featured on their acclaimed Shaker music recording, “The Golden Harvest” (on Glissando). She is now touring internationally with the Camerata in collaboration with the Tero Saarinen Dance Company’s Shaker dance project, “Borrowed Light.” In 2003 she made her Boston Symphony Hall debut as the alto soloist in George Frideric Handel’s Dixit Dominus with the Handel and Haydn Society orchestra and chorus, conducted by Grant Llewellyn. She returned in 2004 as a soloist in their performances of Antonio Vivaldi’s Gloria.
Oratorio engagements include critically acclaimed performances in G.F. Handel’s Dixit Dominus, St. Luke’s Passion (BWV 246) (from the library of J.S. Bach), St. John Passion (BWV 245) (with New York Collegium conducted by Andrew Parrott), W.A. Mozart’s Requiem (with the Providence Singers and Back Bay Chorale), J.S. Bach’s Mass in B Minor (BWV 232), Charpentier’s Te Deum, A. Vivaldi’s Gloria, Felix Mendelssohn’s Elijah, G.F. Handel’s Messiah and Judas Maccabeus (the latter with Concord Chorale of New Hampshire). She has garnered international praise for her current work with The Boston Camerata and Tero Saarinen Dance Company (“Borrowed Light”).
Recent operatic roles include Catherine/Duchesse in Roger Rudenstein’s opera, Grace, which premiered in June of 2004, and the role of Speranza in Aston Magna’s 2004 production of Monteverdi’s Orfeo. As an interpreter of early music, she has been featured in many festivals, including the 1999, 2001 and 2003 productions of the Boston Early Music Festival & Exhibition operas. In 2002 she appeared with Magnificat at the Berkeley Festival and performed the role of Diana in a Spanish zarzuela opera El Salir del Amor by Duron at the Connecticut Early Music Festival, a role she reprised with Aston Magna in 2005. October 2005 marks her return to Symphony Hall, singing the role of the Sorceress in Handel & Haydn Society’s production of Dido and Aeneas. In 2006, she will sing the role of Second Lady in Emmanuel Music’s production of W.A. Mozart’s Magic Flute.
2005-2006 season also features Deborah Rentz-Moore in concert with the Concord Chorale, Masterworks Chorale and The Carthage Consort of viols. Recording projects include Cozzolani’s Mass with Magnificat (on Musica Omnia), “The Golden Harvest” (Shaker music on Glissando), and “The Music of Peace,” with H&H (Arie Records).
Deborah Rentz-Moore has performed extensively with the baroque ensemble Très. She recently sang the 21st century premieres of Cozzolani’s Vespra della beata virgine, Mass and Messa Paschale with Magnificat, English viol consort music with the Carthage Consort, and 20th century song repertoire with The Florestan Project. Recent recording projects include Cozzolani’s Mass with Magnificat (on the Musica Omnia label), a recording of renaissance Christmas music with the Handel & Haydn Society (on Musica Omnia, November 2003) and the popular “The Music of Peace” CD, also with the Handel and Haydn Society (Arie Records, December 2003).