Kathryn Sloat, Harpist

When I am booked to play a wedding or any other event, I always try to arrive one hour early. This allows me the time to set up, tune my harp, and warm up without any rush! When I play wedding ceremonies, I will perform background music for about a half an hour beforehand as guests are seated. I will then play processional music as the bridal party comes in, and recessional music as they walk out. I will also perform a special selection mid-ceremony if this is requested. I always have couples choose the music for their ceremony, though I am happy to make suggestions and offer guidance if it is needed. I am always up for special requests, even if it's not in my repertoire, so don't hesitate to ask!

When I play background music for parties and other events I generally will make the selections, although requests for certain genres are always welcome. I play a wide range of music including classical, popular music, Broadway show tunes, etc.

Kathryn Sloat, “whose harp playing evoked the angels (Brooklyn Discovery),” is known for her work in opera and contemporary chamber music in New York City and throughout the United States. She is a member of the contemporary harp duo Lilac 94 with whom she has had the honor of performing at the American Harp Society’s 2015 National Conference in Logan, Utah, the Fresh Inc Festival in Wisconsin and Chicago, as well as various chamber music series along the east coast. Kathryn has also worked with a number of composers in bringing their music alive through initial readings and concert performances for the New York Composers Circle and Secret Opera. As an orchestral harpist, Kathryn has performed in a variety of festivals with conductors such as Keith Lockhart, JoAnn Falletta, Leon Botstein, Larry Rachleff, and a notable performance with conductor Krešimir Batinić and the Zagreb Philharmonic in their Carnegie Hall debut for the premiere of Malek Jandali’s Luminosity, a four-movement sinfonietta for chamber orchestra inspired by and dedicated to the Syrian children.

With a passion for performing in musical theatre and opera, Kathryn has played in pit orchestras for Off-Broadway and regional theater productions of Once Upon a Mattress, The Fantasticks, A Light in the Piazza, Peter Pan, and others. As a member of the Ohio Light Opera Orchestra, she performed works from this repertory including Rodgers and Hammerstein’s The King and I, Cole Porter’s Silk Stockings, and Johann Strauss II’s The Gypsy Baron. Kathryn has worked with various small opera companies in New York City for performances such as Carmen (Venture Opera), Manon Lescaut (Regina Opera), and Tosca (Loft Opera).

Kathryn takes a special delight in performing the works of composer Benjamin Britten. First hooked in college when she played her first Britten opera, Albert Herring, and then again with her first performance of The Ceremony of Carols, she has since played numerous Britten operas and put on her own production of his chamber works for harp entitled “A Birthday Hansel for Benjamin Britten.” Kathryn pursues as many opportunities as possible to play this great composer’s music.

In addition to her performance work, Kathryn is a dedicated harp teacher. She has taught individual and group lessons as a private instructor and as a part of the National String Project. For the past five summers she has been an assistant harp teacher at the Connecticut Valley Harp Intensive, and has given educational performances and workshops as a member of her harp duo Lilac 94. Kathryn was recently appointed as a harp instructor at the Luzerne Music Center in upstate New York, and also teaches at the Diller-Quaile School of Music in New York City.

Kathryn Sloat holds degrees in harp performance from the Crane School of Music, Eastman School of Music, and Mannes College of Music. She currently lives in Manhattan with a vegan roommate and will someday own a cat. While she maintains a rigorous schedule of performance and travel, she does manage to fit in some free time to knit, read, and hike the Adirondack mountains.

I have an acoustic instrument and I generally play un-miced, although I am happy to use the venue's sound system if it is needed. The harp is louder than most people think, so usually I don't need it! I provide all the rest of the equipment - harp, bench, and music stand.