Indian soprano Sherezade Panthaki trained as a pianist before studying for a master’s degree in Voice Performance at the University of Illinois and an Artist Diploma at the Yale School of Music and the Yale Institute of Sacred Music. She is the winner of multiple awards at Yale University where she now teaches on several specialist courses.
An acknowledged star in the early-music field, Ms. Panthaki has developed ongoing collaborations with many of the world’s leading interpreters including Nicholas McGegan, William Christie, Nicholas Kraemer, Simon Carrington, Matthew Halls and Masaaki Suzuki, with whom she made her New York Philharmonic debut in a program of Bach and Mendelssohn.
Ms Panthaki is renowned for her interpretations of the Bach Passions, Christmas Oratorio, Cantatas, Handel Acis and Galatea, L’Allegro, Pensoroso ed Il Moderato, La Resurezzione, Messiah, Saul, Solomon, Purcell Dido and Aeneas and Vivaldi Gloria.
She has appeared with Bach Collegium Japan, Boston Baroque, Tafelmusik Baroque Orchestra, Philharmonia Baroque Orchestra and Music of the Baroque and at the Oregon Bach Festival and Berkeley Early Music Festival. Modern orchestras include the National Symphony Orchestra, Washington DC; Los Angeles Philharmonic, National Arts Centre Orchestra, Ottawa; Orchestra of St. Luke’s , Colorado and St Louis Symphonies. Outside the US she has appeared with the NDR Radiophilharmonie, Nederlands Kammerorkest and at Musikfest Bremen and the Utrecht Early Music, Murten Classics and Bari International Music Festivals.
Beyond the music of the Renaissance and Baroque Ms Panthaki has performed Orff Carmina Burana with the Houston Symphony; Mozart Coronation Mass, Haydn L’isola disabitata, and Beethoven Symphony No. 9 with the American Classical Orchestra; Brahms Requiem and John Tavener The Last Discourse with Orchestra of St. Luke’s; Mozart Requiem with Music of the Baroque and Exsultate Jubilate and Requiem with the Washington Bach Consort; Her repertoire also include Britten War Requiem, Stravinsky Les Noces and Poulenc’s Stabat Mater and Gloria.
Her recordings include Handel Joseph and his Brethren with Philharmonia Baroque / McGegan; Palestrina with Yale Schola Cantorum / David Hill on Hyperion and Matthew Brown Though Love be a Day with the Antioch Chamber Ensemble / Joshua Copeland on Acis.
Ms Panthaki’s 2019/20 season includes appearances with Minnesota Orchestra, Houston Symphony, Philharmonia Baroque and Santa Fe Pro Musica. In recital she will be featured at Caramoor Music Festival in “Love and Revenge: The Baroque Diva” with Helicon Ensemble.
Sherezade Panthaki is represented for United Kingdom. For all enquiries please contact Caroline Phillips email@example.com
Handel – Joseph and his Brethren – Philharmonia Baroque Orchestra/ Nicholas McGegan – CD review
The second great strength of this recording is the Asenath of Sherezade Panthaki; as fine as Yvonne Kenny is for King, Panthaki is even better, with a voice of requisite beauty and technique, and artistry to burn. Only recently has she begun to appear in recordings, but expect to hear much, much more of her soon, if there is any justice in the world.
Fanfare Magazine, 6 August 2019
Handel – Samson – NDR Radiophilharmonie
Panthaki sings her most daring and brilliant aria in this performance of Handel’s “Samson”—and thereby totally delights colleagues and audience alike.
No wonder that this woman—according to the libretto — slays seemingly invincible Samson’s strength: with her exuberant virtuosity, with her elegance and her powerful radiance, Panthaki is a new, trailblazing type among the female singers of old music — she is a highly dramatic soprano of the Baroque, an “Isolde” in one of Handel’s oratorios. When she sings, it is not simply an aria, it is an event.
Hannoversche Allgemeine, 22 June 2019
Handel – Ode for the Birthday of Queen Anne – Princeton Pro Musica
It takes an unusual singer to fill the Chapel acoustic as a soloist, and especially in the upper registers, Panthaki’s voice was clear all the way to the last pew.
Panthaki had her superstar moment singing Handel’s ‘Eternal Source of Light Divine,’ an aria from the composer’s Ode for the Birthday of Queen Anne, originally composed for solo alto and trumpet which has been recently heard more in the soprano world. This aria is loaded with long melodic lines, sustained ornaments, and a demand for almost superhuman vocal stamina. Singing from memory, Panthaki had no trouble drawing out the lines with perfect control over the aria and space…sent vocal sound soaring into the rafters of the Chapel … [and] mesmerized the audience throughout the aria.
Town Topics, 8 May 2019
Bach – Ascension Oratorio – Calgary Philharmonic
Panthaki’s voice is a force of nature and quite exceptional, as indeed is her remarkably accurate tuning and the evident ease with which she tossed off even the most difficult passages.
Calgary Herald, 4 May 2019
Handel – Saul – Philharmonia Baroque Orchestra
Soprano Sherezade Panthaki brought her trademark clarity and tonal sensuality to the role of Michal.
SF Datebook, 7 April 2019
As Michal, soprano Sherezade Panthaki, was outstanding. Her command of elaborate coloratura passages is almost beyond belief. Yet Panthaki can also be softly sweet-voiced when the libretto calls for it.
Berkeley Daily Planet, 9 April 2019
…soprano Sherezade Panthaki, singing throughout with an effortless, be-jewelled tone and masterly technique.
San Francisco Classical Voice, 16 April 2019
Orff – Carmina Burana – Bach Festival Society of Central Florida
Soloists added to the work’s thrilling surprises: Soprano Sherezade Panthaki, warm in her lower register before hitting the stratosphere…
Orlando Sentinel, 12 October 2018
Handel – Atalanta – Philharmonia Baroque Orchestra
Then we come to Ms. Panthaki herself … this Atalanta was athletic, rugged, the goddess-hunter, the sister of Diana, Superwoman and Gloria Steinem. And wow! Did she sing those Handel arias like she would tear down the Venetian Theater tent!
ConcertoNet, 22 July 2018
Bach Arias & Cantata BWV, 202 “Wedding” – Berkeley Festival – Cantata Collective
Sherezade Panthaki’s voice is perfectly suited to Bach. It is lush, sumptuous, and technically flawless.
…the vocal agility and lush tone of Sherezade Panthaki created wonders. I can’t imagine hearing a better vocal rendition of this great cantata than the one offered on Saturday at St. Mark’s Church by Sherezade Panthaki… Bach at his best.
The Berkeley Daily Planet, 11 June 2018
Handel – Salve Regina – Music of the Baroque
Panthaki’s seamless legato and fervent commitment to words and music in Handel’s “Salve regina,”…had this rarity falling most gracefully on the ear.
Chicago Tribune, 24 April 2018
Handel – Joseph and his Brethren – Philharmonia Baroque Orchestra
…it becomes increasingly difficult to find words that will adequately convey the multifold splendor of her singing. It is full-bodied and rich in coloration, yet her phrases move with all the litheness and grace of a dancer … She reaches notes that other singers can only eye with envy and does so with effortless precision. She tears through the most demanding passagework without batting an eye or missing a beat. Her diction is flawless. She’s a phenomenon, and only getting more marvellous with each passing year.
San Francisco Chronicle, 15 December 2017
Panthaki was absolutely sensational, singing with sumptuous tone, extraordinarily flexible and apparently effortless coloratura, and impeccable diction.”
Berkeley Daily Planet, 24 December 2017
Handel – Almira – Boston Early Music Festival
Sherezade Panthaki, a newcomer for the festival we hope to hear here again soon, sang the aria with a full palette of tonal color and expert interpretive skills. In the da capo repeat of the first theme, Panthaki mined the passion inherent in the aria for all it was worth.
Berkshire Fine Arts, 5 December 2017
Rameau – Les Indes Galantes – Les Sauvages – Opera Lafayette
Soprano Sherezade Panthaki … brought a silky legato tone and impeccable intonation to the role of the Indian princess, Zima. In her final showpiece, “Regnez, Plaisirs et Jeux,” she had more than enough sound to fill the hall with a laser-like precision. The embellishments added to the final section were brilliant, including a polished high note at the end
Washington Classical Review, 1 June 2017
The soprano Sherezade Panthaki poured her generous, golden sound into the part of Zima, and her joyful duet in the final scene with the clarion baritone Victor Sicard, as Adario, was radiant.
New York Times, 5 June 2017
Steffani – Stabat mater – Tafelmusik
Panthaki was especially fine, with a surprisingly powerful voice in her upper range, and a fine sense of articulation and phrasing to go with it.
The Globe and Mail, 7 April 2017
Brahms – Requiem – Calgary Philharmonic
The performance included two superb vocal soloists in baritone Brett Polegato and soprano Sherezade Panthaki … Her performance of the beautiful fifth movement was, if anything, more radiant than her previous performance, her voice perfect for the part in tone and amplitude. Managing the challenging tessitura of the music with elegance and no evident strain, she sang this difficult music as well as I have heard it live, achieving a transcendent quality as her voice soared over the orchestra. Still a young singer, she has a great future.
Calgary Herald, 18 February 2017
Soprano Sherezade Panthaki and baritone Joshua Hopkins gave concertgoers some of the best music of the evening…Panthaki transcended technical brilliance, and her Ihr habt nun Traurigkeit was earnest and comforting.
Cool Cleveland, 8 April 2017
Handel – Arias – Pasadena Symphony Orchestra
Panthaki’s pert and agile voice carved out Handel’s melismatic vocal lines with all the fineness of detail of an etching in silverplate.
Crescenta Valley Weekly, 26 January 2017
Marcello, B. – Estro poetic-armonico – Yale Voxtet/Philharmonia Baroque Orchestra
Most striking was “Salmo Decimottavo Aria” (O immaculate e santa divine) from Estro poetic-armonico, sung with seductive beauty by Sherezade Panthaki.
The Boston Musical Intelligencer, 21 November 2016
Handel – Laudate pueri – Tafelmusik
The soloist is soprano Sherezade Panthaki, who was a treat the whole evening … just as the choir itself has grown in its ability to sing out a wider ranger of colours and textures, Panthaki demonstrated how bigger, lusher voices can also dance nimbly around the technical requirements of Baroque runs and musical ornaments.
Musical Toronto, 3 November 2016
Sheherezade Panthaki had breathtaking technique in her melismatic sections and her voice soared in its upper range … Once again Panthaki, Gagné and Woody both in solos and together, demonstrated why they are each in demand internationally for historically informed performances; they sang with intelligence, virtuosity and expressiveness.
Toronto Concert Reviews, 3 November 2016
Handel – Apollo e Dafne – 4×4 Baroque Music Festival
Sherezade Panthaki’s soprano, as Daphne, was also strong yet delectably sweet. Her opening aria, a celebration of an unfettered soul and an unattached heart, was a thing of special beauty with its accompaniment of pizzicato strings and soaring recorder…
New York Times, 12 September 2016
Bach Mass in B Minor – Oregon Bach Festival
Sherezade Panthaki’s rich soprano excelled in the operatic “Laudamus te.”
Marilyn Farwell, June 2016
Purcell – Dido and Aneas – Mark Morris Dance Company
Soprano Sherezade Panthaki brought a luxurious smoothness to the part of Belinda.
Orange County Register, 17 May 2015
As danced by the motherly Michelle Yard and sung by the richly resonant Sherezade Panthaki, Belinda was the story’s rock, the beneficent spirit who enables not only the evening’s joy but Morris’ shattering close.
Chicago Tribune, 6 April 2016
Tavener – The Last Discourse – St.Thomas Church
But in this case, another miracle was born in the soprano voice of Sherezade Panthaki … I had heard her before in both Bach and Mendelssohn, and have never ever forgotten the purity, the almost unearthly beauty of Ms. Panthaki’s voice. Not only is her vocal line clear, chaste and with consummate perfection, but in the areas of this complex work where she must suddenly rise to the highest notes, it was accomplished without effort but seemingly an inevitable movement. In vocal terms, hers is a force of nature.
ConcertoNet, 18 March 2016
Handel – L’Allegro – Philharmonia Baroque Orchestra/Mark Morris Dance Group
The delightful dances outnumber the penseroso passages, the greatest of which is the echo-duet of the nightingales (Maile Okamura, Lauren Grant) accompanied by the ravishing voice of Sherezade Panthaki, whose high notes bloom in out-of-this-world radiance.
Bay Area Reporter, 15 March 2016
Handel – L’isola disabitata – American Classical Orchestra
Sherezade Panthaki’s Silvia was marvellous: the full evolution of her character was reflected in singing that moved from light sweetness to exuberant, vigorous sensuality. In her artistry, Panthaki made her Silvia a young woman with neither inhibition nor fear; Panthaki took every possible risk with Haydn’s music and made it all feel like happiness in the process of being discovered.
Theater Scene, 3 March 2016
There is little doubt, however, that soprano Sherezade Panthaki had stolen the show, with her acting as well as her singing … Panthaki’s awe-inspiring performance had infused an operetta-class production with opera-class quality, and her arias likewise seemed to elevate the audience [temporarily] above the comic gags, and to supply the narrative with most of its emotional weight.
Classicalite, 26 February 2016
As Sylvia, Ms. Panthaki owned the central stretch of this two-act opera, singing with radiant tone and a brilliant upper register that thrilled the audience
Superconductor , 25 February 2016
Handel – Ode for St. Cecilia’s Day – Philharmonia Baroque Orchestra
…the evening’s chief glory was the radiant singing of soprano Sherezade Panthaki — a breathtaking combination of expressive ardor, tonal clarity, technical mastery and dramatic vividness… this was one for the books…She endowed Handel’s phrases with a nobility that did nothing to lessen their communicative grace. She negotiated the long and sometimes awkward melodic leaps that are scattered throughout the score without missing or fudging a note, yet she did it with enough fluidity that the effect never seemed angular. And her tone — lush, focused, full of iridescent colorings — was exquisite throughout…Cecilia herself could only have been proud.
SF Chronicle, 3 December 2015
When she sang solo in praise of St. Cecilia, Panthaki’s sincerity was palpable, and her trill superb. In her “soft complaining flute” duet with flawless flautist Stephen Schultz, she may have chosen to leave all softness to the instrument, but her rise to the top of her range was marvelous. Of special note was her perfect, non-showy, rapid coloratura in the air, “Orpheus could lead the savage race.” Hers is not a virginal sound, but when she and the chorus sang, “The trumpet shall be heard on high,” like a trumpet she did resound.
SF Classical Voice, 8 December 2015
The ode is a vocal work which Handel penned for a favourite soprano but it is doubtful whether she was more expressive than Sherezade Panthaki, whose radiant rendering of “What passion cannot music raise and quell!” was nothing less than magisterial.
Financial Times, 9 December 2015
Mozart – Requiem – Master Chorale of South Florida
Sherezade Panthaki’s clear top range, sans vibrato, registered deep emotion in the Baroque slides and curves of the solo passages.
South Florida Classical Review, 24 October 2015
Bach Cantatas – Bethlehem Bach Festival
Ms. Panthaki displayed a voice well focused and wonderfully agile, riding her rapid vibrato up and down passagework and trills with admirable fluency, and combining brilliance with a dark, plumlike tone.
The Wall Street Journal, 6 May 2015
“Bach’s World” – Calgary Philharmonic
No one in attendance will forget the radiant, pure singing of Sherezade Panthaki, an Anna Netrebko of baroque music. With a beautiful, clear voice, perfect tuning, and unstoppable virtuosity, she was impressive in everything she sang, from heartfelt arias by Stefani and Kuhnau to the Italianate eloquence of Bach’s solo cantata Non sa che sia dolore and the final Stabat Mater of Pergolesi in its Bach transcription.
Edmonton Journal, May 2015
Handel – Messiah – San Antonio Symphony
But the knockout soloist was soprano Sherezade Panthaki. Her purity, dexterity and sheer lyricism lifted her above the others, as in her lovely “I know that my Redeemer liveth”.
San-Antonio Express News, 4 April 2015
Mozart – Mass in C Major, “Coronation Mass” – American Classical Orchestra
Panthaki’s voice, more operatic in tone and strategy than that of her three colleagues, is capable of both huge, rich volume and sensuous delicacy; her upper register is unstrained and lyrical. Her “Agnus Dei” was a marvel: her “Miserere” was tenderly, passionately felt, half womanly and half seraphic, and her nearly improvisational pacing and ornamentation, to which Crawford was perfectly attuned, resulted in a gorgeous prayer that was not just Panthaki’s, but ours as well.
Theater Scene, 22 March 2015