NEWS
10.13.2025
Soprano Kearstin Piper Brown joins Bach Vespers as the featured soloist in "Falsche Welt, dir trau ich nicht" fresh off performances with the Metropolitan Opera and the Run AMOC festival at Lincoln Center.
10.13.2025
As Wendy, soprano Kearstin Piper Brown was Irvin’s equal as a singer and actor. Her role, too, is vocally challenging, and she handled it with ease, tackling her many high notes with a full bodied sounding and a warm middle range. She also exhibited a wide range of acting chops, from her tender moments with Jack early in the opera, to her fierce and defiant determination to protect Danny and herself from Jack’s murderous intentions.
6.20.2025
There’s plenty of fine singing on both sides of the partition. Kearstin Piper Brown as Poppea and Anthony Roth Costanzo as Nero headline a supple cast that does justice to the woven texture of Monteverdi’s score.
6.19.2025
Likewise, the terrific casts are mostly separate but do interact in a few ways. On The Comet side (one half of the platform), Jim is sung by the excellent bass-baritone Davóne Tines and Julia by soprano Kiera Duffy. In Poppea, the title character is soprano Kearstin Piper Brown, and Nero is countertenor Anthony Roth Costanzo (he also steps over for a small role as Julia’s father in The Comet).
6.19.2025
The women of Poppea—Amanda Lynn Bottoms, Kearstin Piper Brown, Joelle Lamarre, and Whitney Morrison—are luxury casting. They double as allegorical figures (Virtue, Love, Fortune) and also Roman nobility. This is color-conscious casting in a piece that’s deeply entangled with race and American memory. Bottoms brings fire, Brown glows with lyricism, Lamarre takes daring risks, and Morrison combines brilliance with sumptuous warmth.
5.22.2025
Soprano Kearstin Piper Brown as Alice Ford expertly enticed and fended off Falstaff’s advances, garnishing each moment with a knowing glee.
11.27.2024
Sunday’s highlight was the luminous, full-toned Mimì of soprano Kearstin Piper Brown (who shares the role with former Adler Fellow Mikayla Sager). Brown made a stylish contribution to Paul Moravec’s The Shining with Opera Parallèle last year as Wendy Torrance, but her performance as Mimì was on a whole nother level — winningly tentative in Act 1, tender yet fiery in Act 3, and graced throughout with a gleaming, tireless vocal sound that cut through even the heaviest orchestral textures.