Ms. Felty has performed Bach’s Magnificat and Easter and Christmas Oratorios with Santa Fe Pro Musica, John Harbison’s Mottetti di Montale at Tanglewood and elsewhere; Harbison’s North and South at the 92nd Street Y in New York City; Zwilich’s Passages and Schoenberg’s Pierrot Lunaire with New York Philomusica; Bernstein’s Songfest with the Oregon Festival of American Music; also premières of two works by John Harbison with the Token Creek Music Festival and Collage Music; a staged version of Judith Weir’s Consolations of Scholarship at Tanglewood and Cornell University; Bach’s St. Matthew and St. John Passions and Mahler’s Das Lied von der Erde with the Smithsonian Chamber Players; Galina Ustvolskaya’s Symphony No. 4 with the Santa Fe Chamber Music Festival and Bach Cantatas with the Seattle Symphony under the baton of John Harbison; the première of Steven Stucky’s To Whom I Said Farewell with the Los Angeles Philharmonic, the composer conducting, Haydn’s Arianna a Naxos with the Santa Fe Chamber Music Festival and most recently Colin Matthews’ Continuum with the Los Angeles Philharmonic under Maestro Salonen. Maestro Salonen and she repeated the work with the Chicago Symphony’s Music Now series earlier this year.

Her operatic appearances have included roles in standard repertory such as Mozart’s Così fan tutte, Le Nozze di Figaro, and Strauss’ Ariadne auf Naxos; and contemporary operas such as La Belle et la Bête, Orphée and The White Raven by Philip Glass in Lisbon and at the Lincoln Center Festival. She also premièred several roles in The Death of Klinghoffer by John Adams, performing the work in this country and in Europe and recording it for Nonesuch. She appeared in Francesca Zambello’s production of Kurt Weill’s Street Scene, presented by Houston Grand Opera and in Peter Seller’s film of Mozart’s Così fan Tutte, released this past year on DVD by Decca. Most recently she was seen as Baba the Turk in Stravinsky’s The Rake’s Progress with Cantata Singers in Boston and as the Woman in the première of Philip Glass’s The Sound of a Voice at the American Repertory Theater in Cambridge and at the Court Theater in Chicago. Upcoming engagements include a first performance of a Bernard Rands’ chamber piece with Network for New Music in Philadelphia and recording Martin Brody’s Millenium Sightings with Collage New Music in Boston, having premièred the piece in 2000, and repeating her role in Glass’s The Sound of a Voice with the Opera Theater of Pittsburgh.

Janice Felty has sung with the National Symphony, the Los Angeles Philharmonic, the Seattle Symphony, the Brooklyn Philharmonic, Bargemusic, Aspen Music Festival, Théâtre de la Monnaie, Teatro San Carlo, San Francisco Opera, Houston Grand Opera, Arizona Opera, Santa Fe Opera and Washington Opera among others.