New England-based soprano Caroline Christopher is an active performer specializing in Early Music. Equally at home in ensemble, concert, and opera settings, she has been engaged for a wide variety of repertoire ranging from Medieval to Classical, with a particular interest toward the medium of the Baroque chamber cantata. Her performing and writing interests revolve around historically-informed performance practices and how they can be used to reframe old music for a new audience.
Caroline has appeared with ensembles in the US and Canada such as Arion Orchestre Baroque, McGill Cappella Antica, Hartt Collegium Musicum, CT Virtuosi Ensemble, Canticum Novum, Berkshire Opera Chorus and the Amherst Early Music Festival. Recent concert engagements include being the the soprano soloist of Haydn’s Nelson Mass with the Litchfield County Choral Union, soloist for Schubert’s Mass in G with the CT Virtuosi Ensemble, and part of the chorus in a concert and recording project of Michel Richard Delalande’s pastoral operas in a collaboration between Arion Baroque and the Centre de musique baroque de Versailles. She is the co-founder, along with members Ana Neocleous and Noah Wright of the Medieval trio La Contenance Montréaloise, which was the 2025 featured Young Ensemble of Reverdies Montréal’s Journées Médiévales festival.
An agile soprano with a passion for character roles, her opera highlights include Oberto in Handel’s “Alcina,” L’Amour/Clarine in Rameau’s “Platée,” Venus in Eccles’ “The Judgement of Paris,” Sesto in Handel’s “Giulio Cesare,” Cherubino in Mozart’s “Le Nozze di Figaro,” and Fatime in Rameau’s “Les Fêtes de Ramire.”
Caroline recently completed her Master’s of Music in Early Music at McGill University where she studied under Anja Burmeister and Dorothéa Ventura. During her time in Montréal, she had the opportunity to be part of the revival of Jean-Phillipe Rameau’s “Les Fêtes de Ramire,” an entirely student-led North American premiere of the opera-ballet.
Caroline completed her Bachelor’s of Music in Music History and Vocal Performance from The Hartt School at the University of Hartford, where she studied with Valerie Sorel, Dr. William Braun, and Deborah Lifton, along with a Minor in Art History from the Hartford Art School. During her time at Hartt, Caroline was the recipient of a grant from the Dorothy Goodwin Foundation for a recording and historical performance research project about the works of women composers of the Italian Baroque period, namely Francesca Caccini. Her thesis research deals in the intersections between musicology and art history, discussing temporality, form, and narrative in Handel’s “Lucrezia” cantata (HWV. 145), exploring the musical and visual portrayals of the Roman mytho-historical figure, Lucretia.
Caroline currently resides in Connecticut and maintains a healthy interest in historical sewing and Baroque dancing. She is a member of the Schola Cantorum of the Cathedral of St. Joseph, the Treble Clef Choir of St. Patrick-St. Anthony Church, Gaudeamus, and can be seen cantoring in Catholic churches across Connecticut.
Image credits:
1. Gabriella Bell-Divincenzo
2. Mike McMath
3. Rose Blumenfeld
Caroline Christopher 