About

Hailed by The New York Times for her “radiant, liquid tone,” “exquisitely phrased,” and “sweetly dazzling” singing, soprano Sarah Brailey is in growing demand as a soloist and chamber music artist across all genres of music. She has performed Steve Reich at Carnegie Hall, Handel’s Messiah with the Saint Paul Chamber Orchestra, and with Kanye West and Roomful of Teeth at the Hollywood Bowl.

Highlights of Sarah’s current and recent seasons include Barber’s Knoxville: Summer of 1915 with the Colorado Symphony; George Benjamin’s Dream of the Song with the Lorelei Ensemble and Boston Symphony Orchestra; Handel’s Silete venti and Purcell’s Fairy Queen with the Handel and Haydn Society; Webern’s Op. 13, 14, and 25 with Trinity Wall Street; Zweite Dame in Mozart’s Die Zauberflöte with the Clarion Music Society; various John Zorn works at the Louvre Museum, Sarajevo Jazz Fest, and November Music in s-Hertogenbosch; Handel’s Messiah with the Charlotte Symphony and Albany’s Cathedral of All Saints; Bach’s Magnificat and Christmas Oratorio with Musica Angelica; Costanza in Haydn’s L’isola disabitata with the American Classical Orchestra; Ligeti’s Clocks and Clouds at the Tanglewood Festival of Contemporary Music; the world premiere of Daniel Felsenfeld’s Astrophysical Mass; Schoenberg’s Das Buch der Hängenden Gärten with the Brooklyn Art Song Society; Scott Gendel’s new oratorio Barbara Allen (written for Sarah); Queen of Sheba in Handel’s Solomon with Julian Wachner and the Trinity Baroque Orchestra; Britten’s Les Illuminations with NOVUS NY; and numerous appearances with the Polydora Ensemble, a vocal quartet that specializes in 19th century German art song repertoire.

Sarah is a devoted interpreter of new music and enjoys an ever-expanding circle of collaborators. In addition to her ongoing projects with John Zorn, she is a frequent guest artist with GRAMMY® Award-winning alternative-classical vocal band Roomful of Teeth, appearing in concert and educational residencies with the group across North America. Sarah has worked with many of today’s most influential composers including Steve Reich, Terry Riley, Caroline Shaw, Merrill Garbus, David Lang, Christopher Cerrone, Hannah Lash, Tarik O’Regan, Jesse Jones, Paola Prestini, James Kallembach, and Scott Wheeler. Recent contemporary opera engagements include the American premiere of Hércules en el Mato Grosso, a new opera by Argentine composer Esteban Insinger; Pablo Ortiz’s Gallos y Huesos with The Americas Society; Lera Auerbach’s The Blind at The Lincoln Center Festival; and workshops of Stefan Weisman and David Cote’s The Scarlet Ibis with American Opera Projects.

In addition, Sarah is a core member of Lorelei Ensemble, an 8-voice female chamber music ensemble based in Boston. Lorelei’s mission is to expand the repertoire for women’s voices. The ensemble has commissioned and premiered more than fifty new works since its founding in 2007, while continuing to expose and reinvent early works of the Medieval, Renaissance, and Baroque repertoires. Of a recent Lorelei performance, one critic wrote “A world premiere of ‘The Last Rose,’ by Jessica Meyer reached one of the evening’s high points. The fearless doubler, soprano/cellist Sarah Brailey made of it something truly affecting.”

Among Sarah’s recording collaborators are tUne-yArDs, John Zorn, the Choir of Trinity Wall Street, Paola Prestini, and Bang on a Can All-Stars Stars (Julia Wolfe’s 2015 Pulitzer Prize-winning work Anthracite Fields). Sarah is featured on several GRAMMY®-nominated albums including New York Polyphony’s Sing Thee Nowell and The Clarion Choir’s recording of Maximilian Steinberg’s Passion Week. She can be heard on albums released by Naxos, Sono Luminus, Tzadik, Musica Omnia, BIS, 4AD, Soundbrush Records, and VIA Records.

Sarah’s awards include First Prize in the 2015 Handel Aria Competition and the Leopold Damrosch Award in the 2014 Lyndon Woodside Oratorio Solo Competition. She was a semi-finalist in the 2014 and 2016 Concert Artist Guild Victor Elmaleh Competition.