Praised for her sweetness of tone and clarity of text, Rebecca Dowd is a soprano specializing in early music performance, both as a soloist and chamber musician. Born in Montreal, Canada, Rebecca began her musical career as a violinist and chorister, and actively pursued both until 2008 when she made the transition to full-time vocal study; her recent discovery of early music has made said transition even more gratifying.
She recently completed a Master’s degree in Early Music Voice Performance under renowned mezzo-soprano Annamaria Popescu at McGill University. Rebecca has also coached regularly with conductor and Baroque vocal specialist Valerie Kinslow, and ensemble coaches Betsy MacMillan, Sylvain Bergeron, and Hank Knox. She has performed with many of Canada’s premiere ensembles including the Studio de musique ancienne de Montréal, I Musici, The Choir of St. Andrew and St. Paul, l’Orchestre Métropolitain and Concerto Della Donna, under distinguished conductors including Christopher Jackson, Iwan Edwards, Julian Wachner, Adrian Butterfield and Gary Wedow. She is also one of the founding members of The Victoria IV, a four-voice madrigal ensemble based out of Montreal.
Rebecca has frequently appeared as soloist with the McGill Baroque Orchestra and the McGill Consort of Viols, and has been a chosen participant in masterclasses with noted performers such as Dame Emma Kirkby, Julianne Baird, Ellen Hargis, and Shannon Mercer. Other career highlights so far include two sponsored chamber performances at Early Music America’s Young Performers Festival (Boston, MA and Berkeley, CA), a solo recital in April 2013 of early 17th-century German and Italian repertoire, appearing as Juno/First Fairy in Amherst Early Music's 2013 production of Purcell's Fairy-Queen, and a solo recital in May 2014 of French and English early songs and cantatas.
While Rebecca has a particular passion for the music of the French Baroque, she enthusiastically embraces all forms of historically informed performance practice, and delights in discovering novel ways of presenting early repertoire while remaining as faithful as possible to the source materials.