Described by The New Yorker as "one of the great originals of her generation," composer, performer, and writer Kate Soper has been creating unique and uncategorizable musico-theatrical spectacles for over a decade. Her work explores the integration of drama and rhetoric into musical structure, the slippery continuums of expressivity, intelligibility and sense, and the wonderfully treacherous landscape of the human voice. A Pulitzer Prize finalist and Rome Prize fellow, she has received awards and fellowships from the Guggenheim and Koussevitzky Foundations and the American Academy of Letters, and has been commissioned by Miller Theatre, Alarm Will Sound, and the New York Philharmonic. Her critically-acclaimed large-scale works include the monodramas Voices from the Killing Jar, IPSA DIXIT, and Orpheus Orchestra Opus Onus and the operas Here Be Sirens, The Romance of the Rose, and The Hunt.

In addition to international recognition as a composer, Kate enjoys a varied performance career as a theatre artist and new music vocalist. Praised by The New York Times for her "lithe voice and riveting presence," she has been featured as a composer/performer on the Big Ears Festival, the Miller Theatre Composer Portraits series, the Chicago Symphony Orchestra's MusicNOW series, and the LA Philharmonic's Green Umbrella Series, and has been a guest soloist in her own work with groups including Alarm Will Sound, the MIVOS string quartet, and the New York Philharmonic. An enthusiastic champion of the works of others, Kate has performed in U.S. and world premieres by Beat Furrer, George Lewis, Sky MacClay, Alex Mincek, Katharina Rosenberger, Eric Wubbels, and many others. She has released three monographs as a composer/performer: "Voices from the Killing Jar" and "IPSA DIXIT" with the Wet Ink Ensemble, and "The Understanding of All Things" (as vocalist/pianist/composer) with Sam Pluta.

As a non-fiction and creative writer, Kate has been published by McSweeney's Quarterly, PAJ, the Massachusetts Review, Theory and Practice, and the Journal of Interdisciplinary Voice Studies. She is co-director and vocalist of the Wet Ink Ensemble, a collective of composers, performers, and improvisors dedicated to seeking out adventurous music across aesthetic boundaries.