Marjorie Bunday, photo by Kathleen Schmidt of Ingenue PortraitureMarjorie Bunday
Contralto

...honey-toned, refined ...strong, soaring tone
(Sabine Kortals, Denver Post)
...not just a fine contralto
...also a scholar of music
(Robin McNeil, Opus Colorado)

...warm and pure-toned mezzo
(Joe Banno, Washington Post)
...deeply conveying the passion in the words
with sonorous intensity
(Kelly Dean Hansen, Boulder Daily Camera)
...the wonderful alto Marjorie Bunday
(Jens F. Laurson, Washington Post)

 

Reviews

OpusColorado.com review (Robin McNeil) of From Solomon’s Court to the Ends of the Earth: Songs of the Sephardim with Denver Early Music Consort, 4/26/2014 performance.
"The Artistic Director of the Denver Early Music Consort is contralto Marjorie Bunday, who is well-known as a member of several choirs in the state of Colorado. Understand this: she is not just a fine contralto, she is also a scholar of music, and that applies to everyone who was onstage Saturday evening."

OpusColorado.com review (Robin McNeil) of Voices and Viols with Seicento Baroque Ensemble, 3/21/2014 performance.
"The Schein work [Christ Unser Herr zum Jordan Kam] that the Seicento Baroque Ensemble performed...made use of soprano Amanda Balestrieri and alto Marjorie Bunday...Both of these soloists were spectacular Friday evening. Both have absolutely incredible voice quality and vocal production. In addition, it truly seemed that both of these fine musicians were truly enjoying the performance of Schein’s work...The choir plus Balestrieri and Bunday clearly demonstrated that rarely performed music can be incredibly beautiful and interesting. They also whetted the appetite for more music from this period."

The Examiner review (Ruth Carver) of J.S. Bach's Cantata, BWV 150: Nach dir Herr, verlanget mich (sung one on a part) with Boulder Bach Festival, 2/21/2014 performance.
"[H]ere the vocal soloists joined the instrumental ensemble in a real show of musicianship...Singers Amanda Balestrieri, Marjorie Bunday, Daniel Hutchings, and Adam Ewing acquitted themselves well, creating a finely-colored blend in partnership with the continuo."

OpusColorado.com review (Robin McNeil) of J.S. Bach's Cantata, BWV 150: Nach dir Herr, verlanget mich (sung one on a part) with Boulder Bach Festival, 2/21/2014 performance.
"Marjorie Bunday was exceptional..."

OpusColorado.com review (Robin McNeil) of Celtic Echoes with St. Martin's Chamber Choir, 2/7/2014 performance.
"Soloists at the Friday evening performance were Taylor Martin, tenor; Marjorie Bunday, contralto; and Leslie Remmert Soich, contralto. All three of these soloists have excellent vocal production which, in turn, allows them excellent diction. Every word could be understood, and their phrasing, as well as their musicality, was superb."

OpusColorado.com review (Robin McNeil) of Maurice Duruflé's Requiem with St. John's Cathedral Choir, 11/2/2013 performance.
"The alto and baritone soloists, Marjorie Bunday and Robert Avrett, both of whom I have written about previously, were superb...their wonderful voices were un-muffled and clear. Every word they sang could be understood, because [of] their consummate vocal production..."

OpusColorado.com review (Robin McNeil) of J.S. Bach's Vergnügte Ruh, BWV 170 with Colorado Bach Ensemble, 9/22/2013 performance.
"Vergnügte Ruh, BWV 170, is, I think, one of the outstanding cantatas of this period. The opening aria, 'Delightful rest, beloved pleasure of the soul,' is a wonderful cantilena which was beautfully sung by Marjorie Bunday. She, and Maestro Kim, simply let the music speak for itself in its gently swaying motion, and both seemed to be under the spell of Bach’s lyricism. The final aria was undeniably joyful and rhythmically driven."

OpusColorado.com review (Robin McNeil) of J.S. Bach's St. Matthew Passion (role of False Witness 1) with Colorado Bach Ensemble, 6/15/2013 performance.
"There were also some excellent soloists singing from the choir. Though some may consider these roles relatively minor, I hasten to point out that the soloists’ qualities were not minor by any stretch of the imagination. These individuals were...Marjorie Bunday, False Witness I..."

The Examiner review (Ruth Carver) of Alexander Grechaninov's Missa Festiva with St. Martin's Chamber Choir, 6/7/2013 performance.
"Mezzo-soprano Marjorie Bunday sang her brief solo in the "Credo" movement with plush and vibrant expression."

OpusColorado.com review (Robin McNeil) of Alexander Grechaninov's Missa Festiva with St. Martin's Chamber Choir, 6/7/2013 performance.
"I would like to draw attention to the fact that Marjorie Bunday, a member of the alto section, had a marvelous solo. She is a perfect example of the quality of every singer in the St. Martin’s Chamber Choir. I was left stunned by this particular work and the excellence of its performance, and this is one of the reasons why the performances of the St. Martin’s Chamber Choir are so valuable."

OpusColorado.com review (Robin McNeil) of J.S. Bach's Cantata, BWV 150: Nach dir Herr, verlanget mich with Colorado Bach Ensemble, 1/18/2013 performance.
"The diction of the choir and the soloists was excellent. Abigail Chapman, soprano; Marjorie Bunday, alto; Gene Stenger, tenor; and Chris Maunu, bass, were absolutely superb."

Boulder Daily Camera review (Kelly Dean Hansen) of J.S. Bach's Christmas Oratorio with Pro Musica Colorado Chamber Orchestra and St. Martin's Chamber Choir, 12/2/2011 performance.
"Of the five soloists, alto Marjorie Bunday was the most moving, being given the sustained, emotional pieces and deeply conveying the passion in the words with sonorous intensity."

OpusColorado.com review  (Robin McNeil) of J.S. Bach's Christmas Oratorio with Pro Musica Colorado Chamber Orchestra and St. Martin's Chamber Choir, 12/3/2011 performance.
"This entire performance was bathed in joy and remarkable detail work from the musicians and both conductors...
 
The musicians performed with such great care, attention, warmth, and belief in what they were doing, that this work was revealed as a very personal statement by J.S. Bach. How often do we hear a program where that intangible, yet identifiable aesthetic, is manifest?
 
Amanda Balestrieri, soprano; Marjorie Bunday, mezzo; Daniel Hutchings, tenor (in the role of Evangelist); Jacob Sentgeorge, tenor; and Robert W. Tudor, bass, were all quite remarkable and excellent. I was struck by the balance of the singers with the orchestra. That can sometimes be a very difficult thing to bring off, especially when one does not get a chance to perform often in the hall. Nonetheless, performance experience pays off quite nicely, and it was clear that the soloists had an abundance of that...they had a sense of musicianship that is sometimes rare...All of these soloists had the musicianship to realize when to be an 'instrument,' and when to be a soloist."

Denver Post review (Sabine Kortals) of J.S. Bach's Christmas Oratorio with Pro Musica Colorado Chamber Orchestra and St. Martin's Chamber Choir, 12/2/2011 performance (no web link available).
"Especially notable was Bunday's strong, soaring tone that was beautifully captured in the church's resonant acoustics."

DMV Classical review  (Andrew Lindemann Malone) of “Twelfth Night: 'Noel, Nouvelet!' A Celebration of Epiphany and the Winter Solstice”concert with Armonia Nova, 1/9/2011 performance.
"Bunday sang a clutch of solo numbers in which she demonstrated a keen feel for the rhythm of phrases both textual and musical; it was easy to follow the printed English translations when she was singing her French."

Denver Post review of Monteverdi Soloists concert - October 22, 2010.
"Mezzo-soprano Marjorie Bunday, tenor Daniel Hutchings and bass Robert Gardner delivered an engaging, blended performance of Monteverdi's even-paced 'Salve Regina'...
...
Also memorable was Bunday's honey-toned, refined reading of the 'Laudate Dominum in sanctis eius' motet."

Washington Post review (Joe Banno) of Armonia Nova - June 28, 2010.
"Allison Mondel's ethereal soprano, Marjorie Bunday's warm and pure-toned mezzo, and Jay White's alternation of supple tenor and focused countertenor (shifting registers as individual pieces required), blended beautifully in a recital of songs from roughly 1200 through the late 1400s."

Washington Post web review of Armonia Nova in Washington Early Music Festival Gala - July 20, 2009.
"In arrangements of Hildegard von Bingen's chants with harpist Constance Whiteside, Marjorie Bunday and Allison Mondel blended their voices in a spellbinding performance of textural simplicity and rhythmic freedom."

Washington Post review of Armonia Nova performing music of Hildegard von Bingen - June 23, 2008.
"...a willingness to use vibrato added lushness to Marjorie Bunday's bright, attractive mezzo..."

Express Milwaukee review of Hesperus in "Shameless Commerce" - March 12, 2008.

Milwaukee Journal Sentinel review of Hesperus in "Shameless Commerce" - March 8, 2008.

Rocky Mountain News review of Denver Bach Society performance of J.S. Bach's Mass in B Minor - October 22, 2007.
"Contributing in fine fashion to Saturday's performance were the vocal soloists: soprano Maureen Sorensson, mezzo Marjorie Bunday...[A]ll of the solos and duets proved effective and often deeply moving (notably Bunday's expressive handling of the Agnus Dei and the heartfelt Christe, sung in duet with Sorensson)."

The Denver Post review of The Baroque Chamber Orchestra of Colorado in "The Glories of Venice" - April 22, 2007.
"Highlighting the first half were three vocal gems by Claudio Monteverdi, two featuring St. John's Schola Cantorum and eight guest vocalists. The latter all proved to be excellent soloists, especially mezzo-soprano Marjorie Bunday and countertenor Robert Sussuma, who paired to stunning effect in the concluding 'Beatus vir.'"

Washington Post review of Woodley Ensemble in "Sacred Kaleidescope" [work referenced for Ms. Bunday is "O Fragile Human" by Christopher Marshall] - May 15, 2006.
"The soloists, soprano Jolene Baxter and mezzo-soprano Marjorie Bunday, handled their assignments beautifully."

Washington Times review of Washington Choral Ensemble performing Zoltan Kodaly "Missa Brevis" and John Rutter "Requiem" - March 19, 2006.
"In both works, the soloists were superb, including...alto Marjorie Bunday..."

Washington Post review of Alexandria Choral Society performing G.F. Handel "Coronation Anthems" and "Dixit Dominus" - November 15, 2004.
"[Artistic director Philip] Cave's soloists, sopranos Janet Coxwell and Sally Dunkley, alto Marjorie Bunday, tenor Ole Haas and bass Francis Steele, were mostly recruited from Magnificat, a baroque vocal ensemble Cave founded in England in 1991. They sang...with finely polished tone and a secure grasp of baroque ornamentation."

Washington Post review of Palestrina Choir (one-on-a-part performance of Orlande de Lassus motets) - October 21, 2004.
"...the wonderful alto Marjorie Bunday..."

Upcoming Concerts...

Christmas with DEMC - Denver Early Music Consort
soloist
Tuesday, December 9, 2014 at 7:30 PM
Boulder, Colorado
Wednesday, December 10, 2014 at 7:30 PM
Denver, Colorado

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G.F. Handel - Messiah (Part the First) - St. John's Cathedral Choir
soloist
Saturday, December 13, 2014 at 7:30 PM
Denver, Colorado
Sunday, December 14, 2014 at 7:30 PM
Denver, Colorado

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Vivaldi - Gloria - Boulder Chamber Orchestra
soloist
Friday, December 19, 2014 at 7:30 PM
Boulder, Colorado
Saturday, December 20, 2014 at 7:30 PM
Denver, Colorado

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The Story of Jephte - Baroque Chamber Orchestra of Colorado
soloist
Friday, January 9, 2015 at 7:30 pm
Tabernash (Winter Park), Colorado
Saturday, January 10, 2015 at 7:30 pm
Denver, Colorado
Sunday, January 11, 2015 at 3:00 pm
Denver, Colorado

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