Rebecca Farley

Rebecca Farley

She was already a tall, striking, vibrant redhead when she sang the soprano solo part in Bach’s Magnificat with The Cecilia Chorus of New York last December.  But now, as she strode through the revolving doors into the crowded lobby of the Time Warner Center on Columbus Circle, all heads turned to follow her. Perfectly made up and sporting a soft brown fedora (“Got it in New Zealand, where I just did a three-week tour. Such a beautiful country!”) and an off-the-shoulder top as green as her eyes, with a long russet braid hanging down one side, she had the look of someone who was well aware of being observed.

“That’s one of the many things I learned at Juilliard,” said the recent Master Program graduate. “You have to have a look—a brand—that you stick to every time you go out. And that even includes going to events unrelated to your career. You never know who will be there, or even who may recognize you walking on the street. But they want to recognize the persona they’ve seen onstage, not some sloppy version of that person.”

A veteran public relations executive who represented the likes of Renée Fleming gave a course on exactly this topic at Juilliard. “It was tough on some of the students who looked perfectly presentable but didn’t project a carefully considered image. The teacher said my look was in the right ballpark, but wasn’t detail-oriented or tailored enough. She was right.” Asked how she would describe the brand she is now projecting, she said “Approachable Diva. I love elegance, but I don’t want to come across as an intimidating, untouchable type of performer. Connecting with people is my top priority—not alienating them.”

Rebecca has been connecting with people since her early days in Kentucky. Born and raised in rural Henderson, she lived with her parents and four older siblings on an acre of her grandfather’s farmland, surrounded by aunts, uncles, and cousins. Rebecca did her undergraduate work in voice at the University of Kentucky in Lexington, where a chance opportunity led to her acceptance at Juilliard (read about this important event, and her account of her first year at Juilliard, in last November’s Cecilia Chorus of New York newsletter).

Now, feeling completely at home in New York, with her Master of Music and a wide range of roles and performances under her belt, Rebecca is “happy, arrived, and ready to start my career.” She was immediately rewarded with a 10-concert tour of New Zealand with Juilliard 415, the school’s famed early music ensemble, conducted by Masaaki Suzuki, “the Bach guy.” She is now auditioning for the Young Artist programs at the country’s major opera houses and she has also, to her delight, been cast in two pieces by women composers: Sherry Woods’ chamber opera Mara with a libretto by the Buddhist teacher and author Stephen Batchelor (at the Rubin Museum, October 18 and 20), and Angela Rice’s Easter oratorio Thy Will Be Done at David Geffen Hall, Lincoln Center (March 16). Her performance in Bach’s Christmas Oratorio with The Cecilia Chorus will be her second time on the Carnegie Hall main stage.




Rebecca Farley, soprano, holds a master's degree from The Juilliard School. While at Juilliard she appeared as the Controller in Flight, Bubikopf in Der Kaiser von Atlantis, and covered Amina in the Met+Juilliard production of La Sonnambula. Other recent roles include Pamina in Die Zauberflöte and Gilda in Rigoletto. As a concert soloist, she has sung in Orff's Carmina Burana, Mahler's Resurrection Symphony, Handel's Messiah, and premiered the role of Mary in Angela Rice's oratorio Thy Will Be Done which she will reprise at David Geffen Hall this March. Ms. Farley is delighted to be back with the Cecilia Chorus of New York after having debuted with the ensemble last December in Bach's Magnificat. Even more recently, Ms. Farley has performed works of Bach and Handel conducted by international Bach authority Masaaki Suzuki. She participated in a ten-concert tour with Maestro Suzuki this May/June in New Zealand.