© Redpath Studios
Joanne is one of Britain’s leading Baroque sopranos, in great demand throughout Europe, the US and Asia, and as a soloist on numerous recordings. Prominent appearances have included concerts in many of the world’s leading venues including the Mariinsky Concert Hall, Tchaikovsky Concert Hall, Moscow, St Paul’s Cathedral, London, Frauenkirche, Dresden, Carnegie Hall, New York and Suntory Hall, Tokyo. Joanne works regularly with Bach Collegium Japan (Suzuki), Concerto Copenhagen (Mortensen), Ensemble Pygmalion (Pichon) and Tafelmusik, Toronto. Highlights of the 2021/22 season include Bach’s Mass in B Minor with the Knabenchor Hannover and Steffani’s La Lotta d’Hercole with Musica Alpa Ripa Hannover, Monteverdi’s Vespers with La Nuova Musica at London’s Wigmore Hall, a US tour of Bach cantatas with the Dunedin Consort and Bach’s Mass in B Minor in Toronto with Tafelmusik Baroque Orchestra.
Monteverdi at the Wigmore Hall
On 26th October, Joanne Lunn appears at London's Wigmore Hall with La Nuova Musica in a reprise of David Bates' "bold new take" on Monteverdi's Vespers. This concert was first presented at last summer's Brighton Festival. Singing alongside Joanne are Julia Doyle (soprano), Ben Johnson (tenor), James Arthur (tenor), Alessandro Fischer (tenor), Edward Grint (bass) and William Gaunt (bass). In this performance, boundaries are blurred between the sacred and the secular with the addition of erotically charged works including madrigals and excerpts from Monteverdi’s opera L’incoronazione di Poppea. The result usurps the religious nature of the Vespers to achieve something closer to the Renaissance synergy of heart, mind and body that would have been familiar to Monteverdi and his patrons.
Later this year, Joanne will appear as soprano soloist in Bach’s Christmas Oratorio with Concerto Copenhagen. Other highlights of her season include Haydn’s Creation and Bach’s Easter and Ascension oratorios with Forum-Kreuzeskirche Essen, followed by a US tour of Bach cantatas with the Dunedin Consort and Bach’s Mass in B Minor in Toronto with Tafelmusik Baroque Orchestra.
More information on the Wigmore Hall website.
St Matthew Passion
St John Passion
Mass In B Minor
Der Tod Jesu
L’Allegro il Penseroso ed il Moderato
Israel In Egypt
Michael Requiem For Archbishop Sigismondius
Symphony No. 4
L’incoronazione Di Poppea
Mass In C Minor
Grabmusik Kv 42
Dido And Aeneas
The Fairy Queen
The Blessed Virgin’s Expostulation
Mass Of The Children
Recording: Bach ICH HABE GENUG Cantatas BWV 82, 32 and 106 / Dunedin Consort/John Butt
"The soprano Joanne Lunn, heard in Liebster Jesu, BWV 82, and the early Actus Tragicus, BWV 106, imparts feeling in every word, even when she’s soaring high."
Geoff Brown, The Times (October 2021)
"The Cantata No 32, Liebster Jesu, Mein Verlangen, finds Brook in dialogue with Joanne Lunn, whose crystal-clear soprano at her first entry is as invigorating as a plunge into cold water. Their eventual duet bounces along in its contentment."
Erica Jeal, The Guardian (October 2021)
"Bass Matthew Brook and soprano Joanne Lunn are monumental among the five-piece vocal team."
Fiona Shepherd, The Scotsman (October 2021)
Mozart MASS IN C MINOR / St. Louis Symphony Orchestra
"On Soprano II, Joanne Lunn impressed mightily with a warm sound, impressive coloratura and attention to the words. She and Sampson blended well in their duet 'Domine Deus'."
Sarah Bryan Miller, St. Louis Post-Dispatch (November 2019)
Theatre of the Ayre "Inventing Bel Canto" / Wigmore Hall
"Take Joanne Lunn, one of those sunshine sopranos, noble in purity and expressive zeal, with bull's-eye top notes that can make an audience gasp. She lit up the sky, whether wriggling her way through excitable duets, threading a path through complex ensembles, or exquisitely navigating Francesca Caccini's song with the gloomy refrain: 'Leave me to die'."
Geoff Brown, The Times (April 2018)
Bach MASS IN B MINOR (recording) / Mortensen & Concerto Copenhagen
"Maria Keohane and Joanne Lunn combine to beguiling effect in an understated ‘Christe eleison’, and the latter sings ‘Laudamus te’ radiantly in partnership with Fredrik From’s sophisticated violin obbligato playing."
David Vickers, Gramophone Review
"The use of so small a group of singers does bring some dividends, chiefly clarity. The fugal writing in Kyrie I is a case in point; ‘Et expecto’ is also very exciting. At the end of the Gloria ‘Cum Sancto Spiritu’ features virtuosic singing; the vocal parts are articulated with great athleticism and clarity. Mortensen is blessed with a very fine quintet of soloists. Maria Keohane and Joanne Lunn blend beautifully in the ‘Christe eleison’, offering singing that is ideally flexible. Miss Lunn is delightful and agile in ‘Laudamus te’."
John Quinn, MusicWeb International
Bach Stiftung, St. Gallen
"The other two soloists, baritone Peter Harvey and soprano Joanne Lunn, have established international careers singing with the finest early music ensembles. The soprano sings a joyous aria in which she dedicates her life to her Savior. Lunn beamed with ecstasy and her voice sparkled as she sang to the accompaniment of the three recorders above the oboe and string continuo."
Rick Perdian, Seen and Heard International (September 2017)
Handel MESSIAH / St. John's Smith Square
"Joanne Lunn, a ravishing soprano. Hers is a voice like spun gold, and a face full of conviction, perfect for the hushed wonder of such a line as 'I know that my Redeemer liveth'. She wholeheartedly embraced every word."
Hannah Nepil, The Financial Times
Bach CANTATAS & MAGNIFICAT / Bach collegium Japan European Tour (Saffron Hall)
"Soprano Joanne Lunn communicates sheer joy every time she sings."
Sebastian Scotney, The Arts Desk
Library of Congress, Washington / Bach Collegium Japan USA Tour
"At the heart of the program were two soprano blockbusters, both sung with limpid clarity and sensitive phrasing by Joanne Lunn. A setting of the 'Gloria' in B-flat, attributed by some scholars to Handel, but not without controversy, stood out as much for the plaintive repetitions of 'Miserere nobis' in the 'Qui tollis' movement as for the pyrotechnics of its finale. In Bach's Cantata 51, 'Jauchzet Gott in allen Landen,' Lunn placed the high C's like little bursts of energy, while still keeping a boyish lightness in the many clearly delineated runs."
Charles T. Downey, The Washington Post (November 2015)
"The statuesque Lunn possesses a boyish timbre suitable for this repertory and displayed the agility and high notes to sail easily through the coloratura fireworks."
Lawrence A. Johnson, Chicago Classical Review (November 2015)
"Lunn sang with a soft, rosy and almost boyish tone that brought warm resonance to the 'Et in terra pax'. She was also capable of mining the internal emotional shades of this music. The free-flowing lines of 'Domine Deus' wre given dramatic weight through light and dark shading, and the phrases of'Miserere nobis' sounded with a touch of yearning. Those characteristics also marked Lunn's performance of Bach's Cantata 'Jauchzet Got in allen Landen'."
Aaron Keebaugh, Boston Classical Review (November 2015)
Handel ACIS & GALATEA / Dunedin Consort, Lammermuir Festival
"Fresh from winning a Gramaphone Award for their latest recording (Mozart's Requiem), the Dunedins only seem to get better and better. This performance brought out the flamboyant best in the musicians and the music. Joanne Lunn was on great form as Galatea."
Kate Molleson, The Herald (September 2014)
Mozart REQUIEM (LINN Records) / Dunedin Consort
"Soprano Joanne Lunn's tone is well nourished, with vibrato deployed judiciously to colour selected notes or phrases."
David Thresher, Gramophone - Recording of the Month (May 2014)