Joanne Lunn

Joanne Lunn

SOPRANO
"a voice like spun gold, and a face full of conviction"

Financial Times


Representation: General Management

Photo: Redpath Studios

Overview

Joanne is one of Britain’s leading Baroque sopranos in great demand throughout Europe. Her continued relationship with Bach Collegium Japan (Masaaki Suzuki) takes her to Japan and further afield regularly for both concert tours and recordings. Joanne also appears and records regularly with the Dunedin Consort (John Butt) as well as with Concerto Copenhagen, Tafelmusik (Toronto), Cappella Amsterdam, Ensemble Pygmalion and Knabenchor, Hannover. Joanne has also appeared regularly in concert in Moscow as well as with Melbourne Symphony Orchestra.

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Full Biography

Joanne Lunn studied at the Royal College of Music in London, where she was awarded the prestigious Tagore Gold Medal.

Joanne’s operatic engagements have included her English National Opera debut in Steven Pimlott’s production of Monteverdi’s L’Incoronazione di Poppea conducted by Harry Christophers, the role of Helena in Britten’s A Midsummer Night’s Dream in Venice conducted by Sir John Eliot Gardiner and directed by David Pountney, a tour of Purcell’s Dido and Aeneas in Spain and semi-staged productions of Monteverdi’s Orfeo in Paris and for the Beijing International Music Festival (directed by Sir Jonathan Miller).

In concert, Joanne has performed in Bach’s St Matthew Passion with the Orchestra of the Age of Enlightenment conducted by Sir Roger Norrington, with the Rotterdam Philharmonic Orchestra and with the London Symphony Orchestra at the Barbican Hall. She has appeared as soloist in Messiah in the Halle Handel Festival, at St. Mark’s Venice, and with Bach Collegium Japan (Suzuki) and with the Mozarteum Orchester in Salzburg, as well as in Handel’s L’Allegro and Haydn’s Heiligmesse, Harmoniemesse and Paukenmesse with the Monteverdi Choir and Sir John Eliot Gardiner. Her busy concert schedule has also featured Bach’s Magnificat at the BBC Proms with the Academy of Ancient Music, and with Bach Collegium Japan, Rutter’s Requiem with the Royal Liverpool Philharmonic Orchestra conducted by the composer, Haydn’s The Seasons with the Huddersfield Choral Society, Fauré’s Requiem in Toulouse directed by Marc Minkowski, Bach Mass in B Minor with Bach Collegium Japan conducted by Masaaki Suzuki, with the Academy of Ancient Music in Alzenau and with Les Musiciens du Louvre and Minkowski, for the Akademie der alte Musik, and at the Sage, Gateshead. She has appeared in Mozart’s Mass in C Minor for the City of London Sinfonia and Melbourne Symphony Orchestra, Mozart Requiem in Moscow and at the Mariinsky Concert Hall, St Petersburg, Purcell’s The Blessed Virgin’s Expostulation and The Fairy Queen in Salzburg, Easter Oratorio with the BBC National Orchestra and Chorus of Wales under Nicholas Kraemer, Nelson Mass for the Ulster Orchestra, Rutter Mass of the Children at St Paul’s Cathedral and at Symphony Hall, Birmingham, Harmoniemesse for Scottish Chamber Orchestra, L’Allegro, Il Penseroso ed il Moderato at the Handel Festival in Göttingen, The Creation at Cadogan Hall and Zelenka’s Missa Votiva for Musik Podium Stuttgart, Mozart Exsultate Jubilate, Mahler 4th Symphony at the Tchaikovsky Concert Hall, Moscow. Further concert performances have ranged from Saul with Cappella Amsterdam and with the Estonian Philharmonic Chamber Choir, to the first performances of J.C Bach’s Mailänder Vesperpsalmen with Concerto Köln at the Frauenkirche, Dresden, Bach Cantatas with Le Concert Lorrain, Belinda Dido & Aeneas in Warsaw, Israel in Egypt with Düsseldorfer Symphoniker, St John Passion with Les Musiciens du Louvre (Minkowski) and Graun’s Der Tod Jesu with Collegium Vocale. She also appeared at the Niedersächsische Musiktage with Bach Collegium Japan in programmes of Bach Cantatas, and also in Christmas Oratorio at the Tonhalle, Zürich (Suzuki), concerts with Bachakademie Stuttgart and Tafelmusik (Toronto), a tour of L’Allegro, Il Penseroso ed il Moderato with Rudolf Lutz, Bach Cantatas with Ensemble Pygmalion (Raphaël Pichon), a US tour with Bach Collegium Japan, Messiah with Tafelmusik and Israel in Egypt and St John Passion with Concerto Copenhagen.

Joanne features as a soloist on many CD recordings.  Her discography includes Vivaldi’s Laudate Pueri with The King’s Consort (Hyperion), Haydn Masses with Sir John Eliot Gardiner and the Monteverdi Choir (Philips), John Rutter’s Mass of the Children with the City of London Sinfonia conducted by the composer (Collegium), Sir John Eliot Gardiner’s Bach Cantatas cycle recorded during the Bach Pilgrimage in 2000 (Deutsche Grammophon/Soli Deo Gloria), Bach’s Easter Oratorio with Frieder Bernius and the Stuttgart Kammerchor (Carus), Bach Motets with The Hilliard Ensemble (ECM), Messiah with the RPO and John Rutter, Bach Wedding Cantata BWV 202 with Bach Collegium Japan (BIS), and Bach St John Passion with the Dunedin Consort (Linn), which was nominated for a Gramophone award.

Recent engagements include Bach Cantatas in Switzerland and with Ensemble Pygmalion in Paris, performances of Mozart and Mahler with the Hallé Orchestra, Creation with Warsaw Philharmonic, Messiah with Tafelmusik in Toronto, St John Passion with Holland Baroque Society, Bach Cantatas in Germany and Japan and Haydn’s Harmoniemesse with the Royal Philharmonic Orchestra and Ottone with the Moscow Chamber Orchestra at the Tchaikovsky Concert Hall, Moscow.

Engagements in 2018/2019 include Bach Concerts in Torroella and at the Wigmore Hall with the Dunedin Consort, Handel Silete Venti and Il Delirio amoroso with the Irish Baroque Orchestra, Mass in B Minor with City of London Sinfonia (Southwark Cathedral) and with the BBC Symphony Orchestra (Barbican), a US tour with Bach Collegium Japan, Messiah in Amsterdam, New Year in Vienna with the Hallé Orchestra, a recording of the Brockes Passion with Concerto Copenhagen, Mass in B Minor  on tour in France & Germany with Ensemble Pygmalion, L’Allegro at Kölner Philharmonie with Kölner Kammerorchester, St John Passion in Essen and St John Passion with the Gewandhausorchester in Leipzig.

Promoters please note: if you wish to include this biography in a concert programme etc, please contact Hazard Chase to ensure that you receive the most up to date version. Email: Elin Jones

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News

‘Tis the Season

November 26th, 2018

HC artists’ concert performances this festive period

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Bach 333 Boxset Released

October 26th, 2018

Featuring Hazard Chase Artists

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Bach Collegium Japan’s Swiss Debut

July 5th, 2018

Performing at Fribourg’s International Festival of Sacred Music

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Chofu Festival 2018

June 22nd, 2018

with Masato Suzuki, Masaaki Suzuki and Joanne Lunn

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Moulds and Lunn in Moscow

June 20th, 2018

Performing Handel’s Ottone at Tchaikovsky Concert Hall

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Reviews

Theatre of the Ayre “Inventing Bel Canto” – Wigmore Hall

“Take Joanne Lunn, one of those sunshine sopranos, noble in purity and expressive zeal, with bull’s-eye top notes that can make an audience gasp. She lit up the sky, whether wriggling her way through excitable duets, threading a path through complex ensembles, or exquisitely navigating Francesca Caccini’s song with the gloomy refrain: “Leave me to die.””
The Times, Geoff Brown (Apr’18)

Handel MESSIAH – St John’s Smith Square

“Joanne Lunn, a ravishing soprano. Hers is a voice like spun gold, and a face full of conviction, perfect for the hushed wonder of a line such as “I know that my Redeemer liveth”. She wholeheartedly embraced every word.”
The Financial Times, Hannah Nepil

Bach Cantatas & Magnificat – Bach Collegium Japan European Tour (Saffron Hall)

“Soprano Joanne Lunn communicates sheer joy every time she sings”
The Arts Desk, Sebastian Scotney

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Library of Congress, Washington – Bach Collegium Japan US Tour

At the heart of the program were two soprano blockbusters, both sung with limpid clarity and sensitive phrasing by Joanne Lunn. A setting of the “Gloria” in B-flat, attributed by some scholars to Handel, but not without controversy, stood out as much for the plaintive repetitions of “Miserere nobis” in the “Qui tollis” movement as for the pyrotechnics of its finale. In Bach’s Cantata 51, “Jauchzet Gott in allen Landen,” Lunn placed the high C’s like little bursts of energy, while still keeping a boyish lightness in the many clearly delineated runs.
The Washington Post, Charles T. Downey (Nov’15)

Jordan Hall, Boston – Bach Collegium Japan US Tour

Lunn sang with a soft, rosy, and almost boyish tone that brought warm resonance to the “Et in terra pax.” She was also capable of mining the internal emotional shades of this music. The free-flowing lines of “Domine Deus” were given dramatic weight through light and dark shading, and the phrases of “Miserere nobis” sounded with a touch of yearning. Those characteristics also marked Lunn’s performance of Bach’s cantata Jauchzet Gott in allen Landen
Boston Classical Review, Aaron Keebaugh (Nov’15)

Rockefeller Chapel, Chicago– Bach Collegium Japan US Tour

The statuesque Lunn possesses a boyish timbre suitable for this repertory and displayed the agility and high notes to sail easily through the coloratura fireworks.
Chicago Classical Review, Lawrence A. Johnson (Nov’15)

Handel ACIS & GALATEA, Dunedin Consort, Lammermuir Festival

“Fresh from winning a Gramophone Award for their latest recording (Mozart’s Requiem), the Dunedins only seem to get better and better. Their academic credentials are long established and increasingly they seem to be letting loose. This performance brought out the flamboyant best in the musicians and the music.  Joanne Lunn was on great form as Galatea”
Kate Molleson, The Herald, (Sept’14)

Mozart REQUIEM, Dunedin Consort, John Butt (Linn)

“Soprano Joanne Lunn’s tone is well nourished, with vibrato deployed judiciously to colour selected notes or phrases”
David Threasher, Gramophone (Recording of the Month), (May 2014)

Bach Secular Cantatas, Volume 3 (Bach Collegium Japan Recording)

“Lunn is the main attraction, an ideal Bach soprano balancing agility, pin-sharp tonal precision and real text-awareness: intelligence and tonal beauty all in one. I, for one, very much look forward to her next release with Suzuki.”
Simon Heighes, International Record Review (Sept 2013)

“…sung here by Joanne Lunn, currently one of the most straighforwardly attractive Bach voices around…enjoyed in heartwarming radiance and clarity.  She also shines in BWV 173a, a piece praising Bach’s employer Prince Leopold of Anhalt-Cöthen, in which her bright innocence echoes the dancing flute-and-violin lightness of the music”
Lindsay Kemp, Gramophone, (Sept 2013)

Bach ST JOHN PASSION (Dunedin Consort Recording)

“Joanne Lunn is achingly poignant in ‘Zerfliesse, mein Herze’. Butt’s contextualising [of the Passion] demands to be heard: it’s nothing short of a revelation.”
Paul Riley, BBC Music Magazine (Recording of the Month, April 2013)

Bach ST MATTHEW PASSION (AAM, King’s Place)

“Joanne Lunn made each of her soprano solos into an intensely personal statement.”
George Hall, The Guardian (January 2013)

Bach CANTATAS, Bach Collegium Japan, Perth Concert Hall (Suzuki)

“The programme ended with a joyous pre-Lenten Bach cantata – Ich bin vergnügt mit meinen Glücke – featuring the British soprano Joanne Lunn, whose silken, lustrous voice rang out with bell-like clarity.”
Ken Walton, The Scotsman (March 2012)

“Each of the concerts concluded with a cantata gloriously delivered by the engaging soprano Joanne Lunn.”
Michael Tumelty, Heraldscotland.com (March 2012)

MESSIAH, Leeds Festival Chorus, English Chamber Orchestra

“Soprano Joanne Lunn was no less impressive, filling the high-ceilinged Town Hall with her sparkly, songbird-like vocals. Her “Rejoice greatly, O daughter of Zion” was particularly lovely.”
Laura Kate Wilson, Bachtrack (December 2011)

THE FAIRY QUEEN, New London Consort, The Sage (Pickett)

“Another wonderfully dramatic moment, created from the new story, was soprano Joanne Lunn’s “Oh let me ever, ever weep”.
Jane Shuttleworth, Bachtrack (February 2011)

“Lunn sounds ravishing”
Tim Ashley, The Guardian (February 2011)


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Discography & Repertoire

J.S. Bach – MASS IN B MINOR

Concerto Copenhagen conducted by Lars Ulrik Mortensen in the Mass in B Minor BWV 232

CPO (2016)

J.S. Bach – BIRTHDAY CANTATAS

Bach Collegium Japan with Masaaki Suzuki perform BWV 213 & 214 with Joanne Lunn (soprano), Robin Blaze (counter-tenor), Makoto Sakurada (tenor) and Dominik Wörner (bass)

BIS (2015)

J.S. Bach – MAGNIFICAT

The Dunedin Consort’s latest CD of the Magnificat in E flat – also includes the Christmas Cantata 63

LINN RECORDS (2015)

Artist Manager

John McHugh (Cambridge)
john.mchugh@hazardchase.co.uk
01223 706024

Associate Artist Manager

Elin Jones (Cambridge)
elin.jones@hazardchase.co.uk
01223 706026