Kiri Parker is a singer noted for her "intriguingly dark syrupy mezzo" (Opera News) and her "agile and responsive artistry" (The Times).
She has sung La Badessa for Garden State Opera, Meg Page for the Martina Arroyo Foundation and Mannes Opera, and covered Suzuki for The Phoenicia International Festival of the Voice. At the Aspen Music Festival, Kiri's roles have included Hermia in A Midsummer Night’s Dream under the direction of Jane Glover C.B.E., Argento’s Miss Manners on Music, and stepping in last-minute to replace Kate Lindsay in Horovitz’s Lady Macbeth in their 2011 season. The previous year at Aspen she covered Rosina and Woman with a Hat (The Ghosts of Versailles). She returns to sing, again under the baton of Jane Glover, as Ottavia in L’incoronazione di Poppea in August 2013 and sings her first contralto role as Miss Baggott in Britten’s The Little Sweep for enCanta Collective in April 2013.
Kiri's voice is a product of her interesting heritage–a mix of Chinese and English--and her authentic portrayals a product of her unusual path towards classical singing. A complex mix of colors, her rich, weighty voice was first thought to be a soprano. Thus while training at the Guildhall School of Music and Drama she performed the roles of Musetta (Oxford City Opera), Servilia (Operatique), Rita (GSMD), Cleopatra (Hasse’s Antonio e Cleopatra - GSMD), and Thisbe (Capitol Heights Lyric Opera).
In oratorio, Kiri has sung Bach’s St. John Passion with the Oxford Baroque Soloists, Bach’s Magnificat with Charivari Agreable, Vivaldi’s Gloria at Oxford University, and Handel’s Messiah at Grace Church Episcopal, New York City. She has performed recitals in New York and London and worked with the composers Michael Berkeley, Nicola Le Fanu, and John Woolrich, whose A Paper of Black Lines was written for her.
Kiri’s musical career began with her music scholarship at James Allen’s Girls School. Her extraordinary voice and huge potential gave her the opportunity to study Violin, Piano, and
Singing. She was mentored in Choral conducting and attended the Royal College of Music Junior department while receiving a first-rate academic education.
Kiri went on to win a choral scholarship to the Queen’s College, Oxford to study Theology. Musically she had a huge adventure, working with Renaissance music scholar Owen Rees. Fortunately a singing teacher who'd heard Kiri in a concert connected her with David Pollard in London, giving her the opportunity to discover her voice and the repertoire under his guidance.
The next year Kiri entered the Guildhall School of Music and Drama and completed her MMus with the generous support of the Arts Humanities and Research Council, the Laurin Arthur Glaze Trust, and the Worshipful Company of Pipe Makers. Entering music school later than the average undergraduate, she supplemented her language studies at L’Universita per Stranieri and Bauhaus Universitat in the summers and performed in The Park Lane Group and Les Azuriales Opera young artist programs. Her next opportunity was to study with "living legend" Ruth Falcon at Mannes Opera, while spending summers at the Aspen Music Festival. She was heard by her current agent, who offered to represent her on the spot. Kiri continues to learn from what life presents and to follow her own career path.