Susan Narucki made her professional debut at the 1986 Ojai Festival in the West Coast premiere of Gyorgy Kurtag's Messages of the Late R.V. Troussova with members of the Los Angeles Philharmonic led by conductor Kent Nagano. Since that time, she has made over sixty recordings of music of the 20th and 21st century for labels including SONY Classical, Angel/EMI, Bridge, Nonesuch, New World, Aaeon, Philips, and many others. Her recordings have earned critical acclaim, including a Grammy Award, two Grammy Nominations (Best Classical Vocal CD and a Latin Grammy Nomination for the opera Cuatro Corridos and several European awards for recordings of vocal chamber music and of opera.
Susan’s opera recordings include two major works of Dutch composer Louis Andriessen, including Writing to Vermeer, premiered at the Netherlands Opera in which she created the role of Catherina Bolnes. Also at the Netherlands Opera, Susan performed as the featured soloist in Reves d’un Marco Polo, an opera conceived by Pierre Audi which was based on the powerful concert works of Claude Vivier, filmed for European broadcast on Opus Arte. She also performed and recorded Pascal Dusapin’s haunting chamber opera To Be Sung at T&M in Paris.
Susan’s more recent work in opera has focused commissioning, producing and performing in new works that address critical issues in society. Cuatro Corridos (2016), the critically-acclaimed chamber opera which addresses trafficking of women across the U.S.-Mexican border was nominated for a 2017 Latin Grammy. She will record Inheritance (2018), a chamber opera that focuses on the subject of gun violence in America with music by Lei Liang in May of 2019.
Susan enjoyed the privilege of working closely with American composers Mario Davidovsky and George Crumb, resulting in seminal recordings of their work. Her recording of Crumb’s Starchild for orchestra, chorus and soprano and trombone soloist won the 2000 Grammy Award. The recording on Bridge Records, has been reissued several times.
In addition, Susan enjoyed a close relationship with the ASKO/Schoenberg Ensemble for over a dozen years which focused on the music of Canadian composer Claude Vivier and the development of a performance practice of his work, often working solely from the composer’s manuscript facsimile. Their recording on Philips, led by Reinbert de Leeuw, includes Lonely Child, as well as two of the composer’s lesser known masterpieces: Bouchara and Prologue a un Marco Polo.
Susan’s recordings of vocal chamber music include award-winning recordings of American composers Elliott Carter and George Crumb, as well as works from the Second Viennese School and Igor Stravinsky. In addition, she has recorded a wide range of works by American composers including song cycles of James Primosch, Aaron Helgeson, Sebastian Currier, Arlene Sierra, and Alba Potes.
Susan’s recordings of songs for voice and piano focus on 20th and 21st century works by American composers. With longtime collaborator Donald Berman, she has recorded song cycles of Aaron Jay Kernis and Juliana Hall, as well as the critically acclaimed The Light That is Felt: Songs of Charles Ives for New World Records. In addition, she has recorded songs of American composers Beth Wiemann, Andrew Imbrie, and John Jay Becker, as well as songs by the late Dutch composer Robert Heppener. There are a wide range of compositional styles represented, as in the rest of the discography, but linked by an approach to performance that maintains an underlying sense of lyricism and connection to the Bel Canto tradition.