Hailed as “ravishing” (New York Times) and possessing “sheer vocal proficiency, a bright, flexible voice, big but controlled, shaded with plentiful color” (Boston Globe), Canadian soprano Linda Tsatsanis enjoys a career that spans the concert hall, opera stage, movies and television. Ms. Tsatsanis’ concert performance ranges from oratorio to renaissance song to world premier performances such as a stunning arrangement made for her, cello and string orchestra of the Preludes of Bach’s Cello Suites. Her versatility has made for a distinguished career taking her across the United States, Canada and Europe performing with groups such as Seattle Baroque Orchestra, Pacific Baroque Orchestra, Early Music Guild, Pacific MusicWorks, Auburn Symphony, and Toronto Symphony. With a Master’s degree from Indiana University specializing in Historical Performance, she has collaborated with the country’s most prominent Early Music chamber ensembles being presented by Pacific Baroque Festival, Indianapolis Early Music Festival, San Francisco Early Music Society, Early Music in Columbus, Renaissance and Baroque Society (Pittsburg), Early Music Now (Milwaukee), Magnolia Baroque Festival, and Bloomington Early Music Festival. Using her knowledge of this repertoire along with her unique artistry Ms. Tsatsanis has been praised for breathing a new life into this ancient repertoire. Appealing to her sense of expression, diversity, and musicality, her versatility and love of chamber music has also lead her to perform contemporary works especially those with unusual pairings. Dear to her are the works for soprano and cello of Sir John Tavener and William Sydeman which she performs with her husband, cellist Nathan Whittaker. Her performance of William Bolcom’s “Let Evening Come” lead her to Carnegie Hall in 2016 as part of their 125th anniversary season.
Past opera roles include Semele in Handel’s Semele and Agrippina in Handel’s Agrippina (Portland Baroque Opera), Jonathas in Charpentier’s David et Jonathas (Helios Opera), Colombina in Haydn’s Die Feuersbrunst (Northwest Puppet Opera), Una Ingrata in Monteverdi’s Ballo dell’Ingrate (Pacific MusicWorks), Valletto in Monteverdi’s L’incoronazione di Poppea (Early Music Guild), Venus in Blow’s Venus and Adonis (Anima e Corpo), and Fanny in Arne’s The Cooper (Bloomington Early Music Festival).
She was a winner of the Ladies Musical Club of Seattle Tour Competition, the Unicorn (first place) and Audience Award of the Early Music America Renaissance Competition, the Madge Wilson Music Scholarship from Indiana University, and the Alta Lind Cook Prize from the University of Toronto.
Her debut solo album with Origin Classical, And I Remain: Three Love Stories, was described as a “seductive recital of the darker sides of 17th-century love” by Gramophone Magazine. Her past collaboration with the Mark Morris Dance Group was the inspiration for her most recent album, Beethoven alla Britannia with Centaur Records to be released in 2016. She can be heard on the Emmy-nominated documentary When Seattle Invented the Future, various recordings by the Canadian Broadcasting Corporation and Naxos.
Ms. Tsatsanis received her undergraduate degree from the University of Toronto and continued her education with a Master’s degree at Indiana University in the studio of Alan Bennett, working with Early Music Institute faculty such as Nigel North, Elisabeth Wright, Paul Elliott and Wendy Gillespie. Currently, she is a Visiting Scholar at the University of Washington.