A versatile performer, mezzo-soprano Catherine Hedberg has a particular passion for early repertoire and new music. Recent performances include a recital of works by Nadia Boulanger and Irving Fine, a South Korean tour with the American Soloists Ensemble of National Chorus of Korea, Tyshawn Sorey’s Monochromatic Light (Afterlife) with the Choir of Trinity Wall Street at Park Avenue Armory, Dana Lyn’s A Point on a Slow Curve at Joe’s Pub, and Lewis Nielson’s Cilice with Wavefield Ensemble. She is a member of the Handel and Haydn Society, with whom she has appeared as a soloist in works including JS Bach’s B Minor Mass, Magnificat, and various cantatas. She has appeared as soloist in Copland’s In the Beginning (True Concord), Orlandini’s Mass in F with Upper Valley Baroque, Vivaldi’s Introduzione e Gloria in D (Church of St. Luke in the Fields), Handel Dixit Domimus (Ampersand), Bach’s B Minor Mass and Duruflé’s Requiem (Central City Chorus), Bach’s Missa Brevis in F (Blanche Moyse Chorale), Cantata BWV 153 (Victoria Bach Festival), Rossini’s Petite Messe Solonnelle (Dalton Chorale), works by Purcell and Handel in the Festival Musique en l’Ile in Paris, works by Schütz and Szarzynski (Early Music New York), John Cage’s 4’33” (MoMA), world premiere chamber version of Michael Gordon’s Acquanetta (Prototype Festival) with Bang on a Can All Stars, and a performance of excerpts from Nathan Davis’ dance opera Hagoromo with the International Contemporary Ensemble (ICE). 

In prior seasons, Catherine was a frequent soloist with Boston’s Cantata Singers, including appearances in Nicholas Maw’s One Foot in Eden Still I Stand, Bach’s B Minor Mass and Cantatas BWV 11 and 34, Liszt’s Via Crucis, Schumann’s Scenes from Goethe’s Faust, and Handel’s Belshazzar. She toured the US with the Boston Camerata in their production A Symphony of Psalms, and has also appeared as soloist with Newport Baroque Orchestra, Handel Society at Dartmouth College, Berkshire Choral Society, and Nashua Symphony Choral Society.