In the past due ’90s, Christine Brandes began creating herself as an American soprano in neuro-scientific period (or “authentic”) Baroque and Classical singing. She went to Ohio State College or university in Columbus, where she was informed she would do not have a career like a vocalist. At least four worldwide record companies, many opera businesses, and leading period-instrument companies obviously disagree. She’s sung with Nicholas McGegan as well as the Philharmonia Baroque Orchestra as well as the Arcadian Academy, William Christie and Les Arts Florissants, Christophe Rousset and Les Talens Lyriques, Christopher Hogwood as well as the Handel and Haydn Culture of Boston, Andrew Parrott as well as the Seattle Baroque Orchestra, Tafelmusik, the Newberry Consort, as well as the Orchestra of St. Luke’s. Preferred products in her repertory are Bach’s Cantata, BWV 51 and Vivaldi’s Laudate Pueri RV 601. Within the operatic stage, she’s made an appearance in Purcell’s Dido and Aeneas; Handel’s L’Allegro, Il Penseroso e Moderato; Rameau’s Platée; Gluck’s Orfeo ed Euridice; Mozart’s The Magic Flute (as Pamina) as well as the Relationship of Figaro (as Susanna). She’s been adding fresh and twentieth-century music to her repertory, performing music cycles by Libbie Larson and Eric Moe, and premiering music of Augusta Go through Thomas. She’s participated inside a project specialized in the music of seventeenth-century Italian composer Barbara Strozzi. Brandes is definitely in demand within the worldwide festival scene, showing up in the Mainly Mozart Event, the Berkeley Early Music Event, the Boston Early Music Event, Tanglewood, Ravinia, the Hong Kong Arts Event, as well as the Edinburgh Event. Her NY recital debut is at the Metropolitan Museum of Art’s Introductions series. She’s documented for Harmonia Mundi USA, BMG, Koch International, and Dorian. She’s transferred to the SAN FRANCISCO BAY AREA Bay Area.