Teaching

Kimberly’s eclectic and varied career combines not only the standard repertoire sung on some of the great opera house and concert stages of the world for the last 35 years, but also contemporary and baroque works with smaller, experimental companies. With performances at Opéra de Paris, Opéra de Marseille, Frankfurt Opera, English National Opera, New York City Opera, Chicago Lyric Opera, Seattle Opera, L’Accademia Nazionale di Santa Cecilia, Wigmore, Barbican, Avery Fisher and Weill Concert Halls, and every major opera company and orchestra in Canada, her operatic repertoire encompasses more than 50 roles, many of them from 20th and 21st century or lesser-known works, and her concert repertoire stems from every genre. She is a champion of the music of our time, frequently giving world and Canadian premieres of new music. In May 2017 she returned to Toronto’s Tapestry Opera to create the role of Asa in the world premiere of OKSANA G (the entire cast nominated for two Dora awards—Best Ensemble and Best Opera Production), and also premiered a new work, THIS LAND, commissioned for her, with NUMUS concert series in Waterloo, Ontario. Recent seasons featured concerts in Lyon (with jazz pianist Franck Avitabile) and Vienna, Ottawa and Waterloo (with pianist Anna Ronai and flutist Ulrike Anton) as well as streamed concerts with Confluence Concerts (John Beckwith Songbook in March 2021) and at Laurier (Pierrot Redux, March 2022). In May 2022 she made her debut with Winnipeg’s Little Opera Company in the Canadian premiere of Jake Heggie’s THREE DECEMBERS in the role of Madeleine Mitchell. She has recorded for Deutsche Grammophon (Concepción in Ravel’s L’HEURE ESPAGNOLE with the LSO under André Previn), CBC Records, Naxos, Teldec and Dutton Classics. 

Her wide-ranging career in Europe, Asia and North America, with years of experience as an operatic performer, concert, recital and recording artist, and breadth of pedagogical training, qualify her ideally to guide emerging vocal artists who hope to excel at an international level.

…open throat, free, expansive breath, supple abdominal support and clean articulation are all addressed while they discover their unique resonant vocal sound.  I also give workshops on Power Performance, Auditions, Grant Writing & Publicity Materials and more.

…Students also work together in partners, report to me online in a weekly practice log reflecting on their practice/progress and receive my written feedback.

I adjudicate frequently at music festivals and competitions, passing on knowledge wherever I go. I am also a licensed Andover Educator©, teaching Body Mapping to musicians.