Katie Stevenson 01_KATIE_SUNSET_3 ©Nik Hill

Katie Stevenson 2 poppea-ram-088 Robert Workman

Katie Stevenson

Mezzo-soprano

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“A fruity force to be reckoned with”
(Opera Magazine, May 2016)

Katie Stevenson marked herself out as a mezzo-soprano to watch when she became the recipient of all three prizes at the Wagner Society Singing Competition, closely followed by winning the 2016 Marjorie Thomas Art of Song prize. Following her graduation from the Royal Academy of Music, Katie has become a member of the distinguished Harewood programme at English National Opera where her roles this season include Nefertiti in Phelim McDermott’s celebrated production of Akhnaten, as well as Third Lady in Simon McBurney’s production of The Magic Flute. Elsewhere, Katie makes her company debut with Longborough Festival Opera in a new Ring Cycle under Anthony Negus, opening this summer as Flosshilde in Das Rheingold.

Other notable highlights have included the world premiere of Nico Muhly’s Marnie, conducted by Martyn Brabbins for ENO, Third Lady in Netia Jones’ new production of Die Zauberflöte for Garsington Opera under Christian Curnyn, and the title role in Porpora’s rarely performed L’Agrippina for Barber Opera. On the concert platform Katie recently made her BBC Proms debut in Vaughan Williams’ Serenade to Music with the BBC Symphony Orchestra under Sakari Oramo and Kindertotenlieder with the Orquesta Sinfónica Del Principado De Asturias.

Gallery

Barber: Must the Winter Come so Soon (Vanessa)

Mozart: Voi Che Sapete (Le nozze di Figaro)

Britten: Sail on, Sail on

Trad. (arr. Gerald Moore): Blow the Wind Southerly

Wagner: Weiche Wotan weiche (Das Rheingold)

“Katie Stevenson impresses as Nefertiti”

(Telegraph, February 2019)

“Katie Stevenson as Akhnaten’s wife Nefertiti and Rebecca Bottone as his mother Queen Tye weave richer vocal textures that convey the growing unease around the cult of Aten.”

(The Guardian, February 2019)

“As Nefertiti, the pharaoh’s wife, Katie Stevenson towers over him, her sonorous tones a telling counterpoint to Roth Costanzo’s bright falsetto”

(Evening Standard, February 2019)

“British mezzo Katie Stevenson, performing with poise and clarity as the Theatre Director”

(Opera Magazine, November 2018)

“… and Katie Stevenson were as fine a trio of Ladies as anyone could wish, singing as fabulously as they looked”

(musicOHM, June 2018)

“Katie Stevenson was a compelling, committed Agrippina”

(Opera Magazine, December 2017)

“All nine of the cast members adeptly accepted the challenge and rose to the occasion so well that it is hard to pick out those deserving a special mention. However, forced to choose, I would note the mezzo-soprano Katie Stevenson in the title-role”

(Bachtrack, September 2017)

“Katie Stevenson sculpted Virtù’s and Venere’s lines to striking effect”

(Opera Magazine, August 2016)

“As Virtue and Venus, Katie Stevenson deployed a steely mezzo that contrasted nicely with the flirtatious warmth in the voice of Nika Gorič’s Fortuna.”

(Bachtrack, May 2016)

“A fruity force to be reckoned with”

(Opera Magazine, March 2016)

“Katie Stevenson similarly raised smiles as sister-in-law – one suspects that covers a multitude of sins – to the Headman.”

(Boulezian, March 2016)

“As the Mayor’s sister-in-law — the butt of all the jokes and trickery — Katie Stevenson did not let the comic shenanigans distract her from producing a firm, full-toned melodic line.”

(Opera Today, March 2016)