Possessed of keen musical intelligence and a vocal range from high lyric mezzo-soprano to soprano, Marguerite Krull is passionate about bringing to life new works and works that have been forgotten or neglected. Excursions in this vein include Calliope in Handel’s Alceste with the American Classical Orchestra; Énone in Charpentier’s La descente d’Orphee aux enfers with Gotham Opera; Alix in Gretry’s 18th-century opera comique Le Magnifique with Ryan Brown and Opera Lafayette (recorded for Naxos); and the extended soprano solos in the première of Elena Ruehr’s cantata Averno with Julian Wachner and The Washington Chorus (D.C.) and Trinity Choir (NY), recorded on the Avie Label.  She also created the role of Peggy in Paul Crabtree’s Ghost Train, which had its première at the Carolina Chamber Music Festival.

Marguerite has sung with numerous companies across the globe.  She has embraced an unusually varied list of roles including Emilia in Handel’s Flavio and the title role in L’enfant et les sortilèges with New York City Opera; Belle in Philip Glass’s La belle et la bête with the Oakland Opera; the title role of Martín y Soler’s La capricciosa corretta, performed in Lausanne, Bordeaux, and Madrid and also recorded for the Naïve/Naxos label; the title role in Melani’s L’empio punito, the earliest operatic treatment of the Don Juan legend, with Opera Leipzig; and eight different Rossini heroines, including four with the Caramoor International Music Festival: Rosina in Il barbiere di Siviglia, Ninetta in La gazza ladra, the title role of La donna del lago, and Desdemona in Otello.

Other performances of note include a last-minute engagement with La Monnaie in Brussels, Belgium in the title role in Rossini’s Elisabetta, regina d’Inghilterra, which she also sang in her debut at Argentina’s Teatro Colón; a return to the Teatro Colón in Bogotá, Colombia as Donna Elvira in Don Giovanni; and a performance with Philadelphia’s Tempesta di Mare of Handel’s “Tra le Fiamme,” which The Philadelphia Inquirer called “especially superb.” Her debut with the Chicago Lyric Opera, as Cherubino in Mozart’s La nozze di Figaro, was called “the big news” of the evening by John von Rhein of the Chicago Tribune.

Marguerite’s dramatic flair and musical sensibility have earned plaudits from the critics, who praise her “strong, affecting stage presence” (Janos Gereben, Oakland Tribune) and “rich, rosy sound and lyrical sensitivity” (Anthony Tommasini, New York Times). She has been lauded for the ease with which she moves from the comedic to the deeply dramatic. Her Despina in Mozart’s Così fan Tutte for Washington National Opera was marked by a “masterful blend of cynicism and frivolity,” according to the Washington Post; her Child in the National Symphony’s semi-staged production of L’enfant et les sortilèges — a role she has also sung to great acclaim at the New York City Opera — conveyed “all the sulky body language of a spoiled kid” (The Baltimore Sun); and her Sesto in Handel’s Giulio Cesare at the Washington National Opera was“fully limned into a convincingly adolescent spark plug, bubbling with Oedipal desires and steeled to the purpose of revenge” (Philip Kennicott, The Washington Post). Her intensive musical training, as both a pianist and a singer, has been praised by the critics who have commented on “her embellishments skillfully and beautifully worked into the line” (Paul Griffiths, andante.com) and “superbly detailed phrasing” (Tim Smith, The Baltimore Sun).

On the concert stage she has sung a varied repertoire as well, including Harbison’s Mirabai Songs with the New York Philharmonic; Barber’s Knoxville, Summer of 1915 with the Richmond Symphony (IN); Mozart’s Mass in C minor with the Buffalo Philharmonic, Voices of Ascension (NY), Sacred Music in a Sacred Space (NY), and Pro Arte (NJ); Bach’s Easter Oratorio with the St. Thomas Choir of Men and Boys; Mozart’s Requiem with the Orlando Philharmonic; Bach’s St. Matthew Passion at the Brooklyn Academy of Music in Jonathan Miller’s acclaimed staged production, Bach’s Magnificat and Mass in B Minor with the Bethlehem Bach Choir, Mozart’s Mass in C Minor with the Buffalo Philharmonic, Mozart’s Exultate, jubilate and Mahler’s Fourth Symphony with the Peoria Symphony, Pergolesi’s La morte di San Giuseppe with the New York Collegium, and Carissimi’s Jepthe with the American Bach Soloists.

Marguerite is a recipient of the prestigious Marian Anderson Foundation Award. A native of Ann Arbor, Michigan, Marguerite holds a bachelor of music degree in Piano Performance from the Peabody Conservatory and a master’s in Voice Performance from the State University of New York at Stony Brook. She lives in New York City with her husband, Mark, and their two children, Eamon and Maeve.