Pamela Dellal


Pamela Dellal, mezzo-soprano, has enjoyed a distinguished career as an acclaimed soloist and recitalist, whose singing has been praised for her “exquisite vocal color,” “musical sensitivity,” (Worcester Gazette) and “eloquent phrasing” (The Boston Globe). She has appeared in Symphony Hall, the Kennedy Center, Avery Fisher Hall, and the Royal Albert Hall, and premiered a Harbison chamber work in New York, San Francisco, Boston and London. Her repertoire encompasses an astonishing range from 12th-century monody through Renaissance songs, Baroque cantatas and oratorios, 18th–21st century art songs and operas, and premieres of new works. Dellal made her Kennedy Center debut under Julian Wachner in the B-minor Mass, and her Lincoln Center debut under renowned conductor William Christie in Messiah. She has performed under other acclaimed conductors such as Seiji Ozawa, Christopher Hogwood, Paul McCreesh, Bernard Labadie and Roger Norrington. Dellal has also appeared with the Tokyo Oratorio Society, the Lydian String Quartet, The Bach Choir of Bethlehem, Boston Baroque, the Boston Early Music Festival, Aston Magna, the Dallas Bach Society, The Cayuga Chamber Orchestra, the National Chamber Orchestra, the Evansville Philharmonic, the Baltimore Choral Arts Society and the Jacksonville Symphony Orchestra. Dellal has received critical acclaim for performances of Brahms’ Alto Rhapsody, Handel’s Messiah, Mozart’s C-minor Mass, and Bach’s B-minor Mass, St. Matthew and St. John Passions. Her operatic roles include Junon in Charpentier’s Actéon, Dido in Purcell’s Dido and Aeneas, Annio and Sesto in Mozart’s La Clemenza di Tito, Dorabella in Mozart’s Così Fan Tutte, Bradamante in Handel’s Alcina, Erika in Barber’s Vanessa, Lucretia in Britten’s The Rape of Lucretia, and Paulina in Harbison’s Winter’s Tale. She has been a featured artist with the The Red House Opera Group, Prism Opera Company, Opera Aperta, Ocean State Lyric Opera, the New Boston Theatre Project, and the Opera Company of Boston, and has appeared in concert in major cities in Europe, the United States, Australia and Japan.

Dellal’s association with Emmanuel Music’s renowned cantata series spans her entire
career, including performances of nearly every sacred work by Bach. Known for her
work with Renaissance and Baroque chamber music, Ms. Dellal has appeared multiple
times with the Boston Early Music Festival, is a frequent guest artist with Ensemble
Chaconne and the Musicians of the Old Post Road, and a current member of the Blue
Heron Renaissance Choir. As a member and Acting Director of Sequentia’s women’s
ensemble Vox Feminae, Ms. Dellal has made numerous recordings of the music of
Hildegard von Bingen, and has toured the U.S., Europe, and Australia. A passionate
advocate for contemporary music, she is a regular guest with the Boston ensembles
Dinosaur Annex and Boston Musica Viva, and has also appeared with the Boston Modern
Orchestra Project, the Lumen Ensemble and Collage New Music, performing works by
contemporary composers such as Martin Boykan, Martin Brody, Edward Cohen, John
Harbison, Ruth Lomon, Shulamit Ran, Judith Shatin, Fabio Vacchi, Judith Weir, Scott
Wheeler, and others. She has nearly forty recordings to her credit, on the Artona, BMG,
CRI, Dorian, Meridian, and KOCH labels among others.
As an educator, Ms. Dellal serves on the faculty at The Longy School of Music of Bard
College and the Boston Conservatory at Berklee. She has taught at Brandeis University,
The Berkshire Choral Festival and at numerous summer workshops including the

Amherst Early Music Festival. She has been invited to give master classes and
lecture/demonstrations at many institutions throughout the US, including Stanford
University, Cal. State Fullerton, SUNY New Paltz, Wellesley College, Wheaton College,
and other organizations. She is a recognized specialist in early vocal techniques and the
music of Hildegard von Bingen; in addition, she has become a sought-after translator of
musical texts including the Bach cantatas, translations of which appear on the Emmanuel
Music website. Her translations are included in the complete works of C.P.E. Bach,
published by the Packard Humanities Institute. An article on C.P.E. Bach lieder was
published in the August 2014 issue of Early Music (U.K.). She is currently editing a book
on Bach cantatas featuring essays by the late Craig Smith, scheduled to be published in
2020 by Pendragon Press. More info. at