Opera repertoire
Adams, J.
Title role The Gospel According to the Other Mary
Berg
Geschwitz Lulu
Britten
Lady Penelope Gloriana
Auntie Peter Grimes
Cilea
Principessa Adriana Lecouvreur
Debussy
Genevieve Pelléas et Melisande
Dukas
La Nourrice Ariane et Barbe Bleu
Dvorak
Jezibaba Rusalka
Handel
Arsace Partenope
Dejanira Hercules
Cornelia Giulio Cesare
Title role Agrippina
Zenobia Radamisto
Irene Theodora
Janáček
Kabanicha Káťa Kabanová
Monteverdi
Ottavia L’incoronazione di Poppea
Penelope Il ritorno d’Ulisse in patria
La Messaggera/La Speranza Orfeo
Poulenc
Mère Marie de l'Incarnation Dialogues des Carmélites
Purcell
Sorceress Dido and Aeneas
Puccini
Suzuki Madama Butterfly
La Zia Principessa Suor Angelica
Rossini
Title role Tancredi
Edwige Guillaume Tell
Saariaho, Kaija
Title role Adriana Mater
Strauss, R.
Clarion Capriccio
Klytemnestra Elektra
Herodias Salome
Strauss, J.
Orlovsky Die Fledermaus
Stravinsky
Baba the Turk The Rake’s Progress
Vaughan Williams
Maura The Riders to the Sea
Verdi
Azucena Il trovatore
Wagner
Fricka Der Ring des Nibelungen
Waltraute Götterdämmerung
Concert repertoire
Bach
St Matthew Passion
St John Passion
Christmas Oratorio
B Minor Mass
Beethoven
Symphony No.9
Misse Solemnis
Berlioz
Romeo et Juliette
Les nuits d'Étés
Brahms
Alto Rhapsody
Britten
Spring Symphony
Durufle
Requiem
Dvořák
Stabat Mater
Elgar
The Dream of Gerontius
The Apostles
The Music Makers
Handel
Messiah
Storge Jeptha
Irene Theodora
Resurection
Janáček
Glagolitic Mass
Mahler
Symphony No.2
Symphony No.3
Symphony No.8
Ruckert Lieder
Kindertotenlieder
Das Lied von der Erde
Mendelssohn
Die Walpurgesnacht
Elijah
Mozart
Requiem
Pergolesi
Stabat Mater
Prokofiev
Alexander Nevsky
Respighi
Il Tramonto
Rossini
Stabat Mater
Petit Messe
Saariaho
Adriana Mater Suite
Shoenberg
Gurrelieder
Tippett
Child of our Time
Verdi
Requiem
Wagner
Wesendonck Lieder
Opera MagazinePatricia Bardon emphasized Kabanicha's subtle powers of manipulation, her devastating composure and, most of all, her enduring sexual allure...and for those of us more accustomed to hearing Bardon in Handel, the suprise was how convincingly she handled Janáček's jaggedly domineering vocal lines, delivered here in rich tones and idiomatic accents
Seen & Heard InternationalShe exuded sheer involvement in the part of Mary Magdalene, taking control of the stage in presence while being vocally impeccable.
Opera MagazinePatricia Bardon, as Mary, had to hold everyone on stage…in a magnetic, almost erotic thrall, and succeeded; her mezzo was rich, ripe and authoritative