Soprano AMY BARTRAM has sung a wide range of music from ancient Greek chant to premieres by emerging composers, jazz, and more. She is equally at home in art song, early music, new music, oratorio, and opera.

Ms. Bartram has been soprano soloist in oratorio performances in NYC and the Hamptons, in works by Bach, Bouzignac, Britten, Fauré, Franck, Mozart (Vespers), Vivaldi (Beatus Vir, Dixit Dominus, Magnificat), Respighi (Angel in Laud to the Nativity), and many others. With the choirs of the Church of the Transfiguration, NYC, she has been soloist in Handel’s Messiah, Vivaldi’s Gloria, Mozart’s Coronation Mass, Purcell’s Come Ye Sons of Art, and the semi-staged production of Handel’s Athalia, in the role of Josabeth. For several years she appeared in broadcast concerts with Trinity Choir and REBEL baroque orchestra at Trinity Church, Wall St., performing solos in works by Bach, Mozart, and Purcell, and the critically acclaimed annual Handel’s Messiah; she is a featured soloist on the bestselling Naxos CD, Christmas at Trinity.

Amy has given recitals covering an array of styles and eras, from medieval song to Mozart lieder (with fortepianist Dongsok Shin) to American art song, as well as many programs of lute song with lutenist Ekko Jennings (see Projects page). A specialist in early music, she has been a soloist with the New York Consort of Viols and the Kleine Musik ensemble. With renaissance guitarist Jocelyn Nelson, she has performed and recorded French chansons from Adrian LeRoy’s 16th-century collections for solo voice and four-course guitar (see Audio page). She is the founder and artistic director of Machicoti, A Medieval Ensemble. She also plays medieval lute, and was a student of lutenist Pat O’Brien.

Ms. Bartram has premiered solo, choral, and musical theater pieces by contemporary composers including Jonathan David, Jenny Johnson, Ian Moss, Chris Mueller, and John Stone. In 2010, she premiered David’s song cycle, Hopkins Songs, on texts of Manley-Hopkins, on an American Art song recital accompanied by noted composer-pianist Christopher Berg; the recital also featured songs by Barber, C. Berg, Copland, and Stone. In 2009, she performed songs by John Stone, with Stone at the piano, including the premiere of a jazz-inspired suite of songs written for her on poems by Langston Hughes. This song cycle, “Daybreak in Alabama,” is now available on iTunes (see Audio page). The title track was selected for the 2011–12 “Song of America” radio series, hosted by Thomas Hampson and broadcast nationwide. In 2007, Ms. Bartram had the privilege to work with American composer Lukas Foss, singing the “Prairie Girl” aria from Foss’s oratorio The Prairie, with the composer at the piano, for a Carl Sandburg symposium at NYU.

Amy sings the role of satrap and plays medieval lute in the acclaimed GEMS production of the 12th-century Play of Daniel (at the Cloisters in 2008 and 2013, CT Early Music Festival, Rockport Chamber Music Festival, and Trinity Church, Wall St.). Other roles include the saint Perpetua in the world premiere of Victor Kioulaphides’ opera The Vision of Perpetua, with neXus Arts; Queenie in Aaron Copland’s A Second Hurricane at the 92nd St. Y; and Belinda in Purcell’s Dido and Aeneas. With the NY Continuo Collective she appeared in the modern-day premiere of Leardini’s Psiche (c. 1649) in 2005 (roles of Venus, Fame, and First Sister), and Cavalieri’s Rappresentatione di Anima et di Corpo (role of Anima), directed by Stephen Stubbs and Erin Headley, among other performances.

Ms. Bartram has appeared with many of the leading professional choral groups in NYC. With Clarion Music Society she has sung baroque and classical repertoire with period instruments in venues including Alice Tully Hall and Weill Recital Hall. With Vox Vocal Ensemble she has done early and modern repertoire (Bach, Cage, Robert Parsons, Jacobus Vaet, Zorn, and more) at the Guggenheim, Morgan Library, and Caramoor Festival, plus the Tallis Spem in Alium for the opening of EMPAC in Troy, NY. Under the direction of Kent Tritle, she has sung Bach’s St. Matthew Passion and St. John Passion, and Handel’s Messiah (the latter two with Musica Sacra at Lincoln Center and Carnegie Hall). She sings concerts and services with the professional choirs of several churches in NYC, including Grace Church and St. Luke in the Fields. Ms. Bartram has also sung with the ensembles Antioch (at the Piccolo Spoleto Festival and on the Carnegie Hall Neighborhood Concert Series, 2001–02) and Pomerium. From 1999 to 2006, she was a member of Trinity Choir, under the direction of Owen Burdick, with which she recorded for Naxos and Hanssler Classic—including 10 of the 14 Haydn masses in the boxed set released in 2009 on Naxos. In 2006-07 she sang in the choir of the Church of the Ascension, directed by Dennis Keene.

A native of Connecticut, Ms. Bartram was a recipient of the National School Choral Award as a teenager; she studied piano for 11 years and formed her first vocal trio at age 10 to perform swing music; later she was the vocalist with the Vassar College jazz ensemble. Ms. Bartram holds a BA in music from Vassar College, with additional studies in jazz at Berklee College of Music. She has studied historical performance practice extensively, including Baroque arias with Howard Crook, Jennifer Lane, and Drew Minter at the Amherst Early Music Festival; Baroque opera, dance, and gesture at the Accademia d’Amore opera scenes program directed by Stephen Stubbs; 17th c. song with Ellen Hargis at Lute Society of America’s summer seminar; and Medieval performance practice for three summers at the Vancouver Early Music Festival with Benjamin Bagby, Katarina Livljanic, Eric Mentzel, and Crawford Young; at the Longy Dufay workshop in 2005; and at a Frauenlob workshop with Bagby at AEMF.