Performance Resume

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In the market of contemporary classical music, I sang professionally throughout the United States for many years. This music often features an extended range, weird noises, growls, and stage speech as well as lyric and beautiful singing. I worked with composers, stage and music directors to program, or premier, over 300 American works from 1980 to 2005.  

 

Collaborations took place with such luminary composers as the late John Cage, Clare Shore (student of Vincent Persichetti,) Lori Laitman (hailed by Grammophone Magazine,) Anne LeBaron (reviews in The New Yorker to L.A. Times,) and Ulf Grahn (New World Records and Stockholm Symphony.) I recorded for the old Orion Record Label and premiered the role of Elizabeth in Chris Patton’s Reunion at DC’s Signature Theater, back in the day. Patton was one of the first laser harpists. A laser harp uses light to sense the gestures of the hands and its own internal computer to interpret them.

Wild!

 

Regionally & locally I lustily sang opera roles from Fiordiligi (Mozart’s Cosi fan Tutte) to The Grouch (the premier of the staged version of Robert Kapilow’s Green Eggs and Ham) to Aslan, the Lion (Thomas Tierney’s off-Broadway musical of Narnia) where I was the first woman to be cast in this role.

Roar!  

 

Oratorio Soloist appearances included Beethoven’s Mass in C with The North Carolina Symphony; Poulenc’s Gloria with The Reston Chorale; Bach’s Magnificat with The Washington Bach Consort and Mozart’s Mass in C Minor with The Moore Country Chorale Society.  

 

My parallel loves of the visual arts & music inspired the creation and performance of programs for national art museums and galleries, coordinating exhibits with song.  In this way I created another market for my singing as well as work as a choral and instrumental music conductor.

 
 
What we have here is a baby Flagstad.
— Randolf Mauldin, Washington National Opera, Vocal Coach and Maestro
Two performers stood out last night… Cathryn Frazier-Neely had the proper vocal suppleness and emotional depth for Fiordiligi…
— Washington Post, Joseph McLellan (Mozart’s Cosi fan Tutte)
[CFN], as Fiordiligi, was excellent, not only for her superb voice but for her characterization as well.
— The Journal, Joseph Hurley
As the soprano soloist, Ms. Frazier-Neely sang with depth, warmth, crystal clarity and focus of tone.
— The Pilot, North Carolina, Mack Israel (Beethoven Mass in C)
Soprano CFN sang the ‘Suite for Voice and Violin’ by Heitor Villa-Lobos with style and confidence.
— Washington Post, Daniel K. Gawthrop (Georgetown Symphony)
Late Twentieth-century vocal music requires that singers make text come alive within complex tonalities and rhythmic structures. CFN is a soprano who can do all this beautifully and, seemingly, easily. A vocal acrobat on a high wire!
— Tommie E. Carl, president of the former American Women Composers, now part of the International Alliance of Women Composers
Mellnik was followed by CFN, a local favorite, who sang the aria ‘Ebben? Ne andro lontana…’ from 19th century composer Alfredo Catalani’s opera ‘La Wally.’ Frazier-Neely’s delivery was ravishing—strongly emotional, yet childlike. One longs to hear this soprano sing the gemlike solo part in Mahler’s wintry 4th symphony, which requires similar vocal qualities.
— The Connection Magazine, T. L. Ponick
…a program full of bright ideas and relatively neglected repertoire. Both singers had imagination, well-rounded tone and heart-felt communication with voices a shade too big for the small hall.
— Washington Post, Joseph McLellan (in recital, The IN Series)
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