Known for her quick musical instincts, expressive singing, and thoughtful preparation, soprano Christina Kay is drawn to repertoire old and new that invites singers to shape the music creatively.

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She is passionate about bringing imaginative ornamentation and rhetorical clarity to 16th- and 17th-century music. In 2019, she appeared as the soprano soloist in Handel’s Messiah at Carnegie Hall, and performs and coaches regularly with ARTEK Early Music as a Renaissance and Baroque-era diminution specialist. In 2022, she co-founded Filigree Ensemble, an artist-led project that explores historically informed improvisation and rhetorically focused programs in intimate chamber settings.

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Christina's stylistic range extends equally to contemporary music. She has premiered art songs with New York Composers Circle and songSLAM!, and has helped develop new choral and small-ensemble works as a member of the GRAMMY-nominated vocal sextet The Western Wind, the New York Philharmonic Chorus, and GRAMMY-nominated True Concord Voices & Orchestra. Her work also extends into folk and indie music, including a year of performing and recording with New England-based indie trio Home Port.

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Drawn to quirky characters and unconventional concepts, Christina has shared the stage with drones in the premiere of David Chesky’s opera, La Farrancucci; worked with silent actor Tony Lopresto to bring forgotten dramatic Baroque oratorios to life with the Academy of Sacred Drama; and performed in foot-tall platform shoes as Lead Singer in Petr Kotik’s boldly staged, semi-tonal opera, Master-Pieces, for which she was praised for her "vibrant and alive" (TheaterScene) and "perfect" (Opera Wire) portrayal.