





Katie Stevenson
Georgina Wheatley
“British mezzo Katie Stevenson performs with poise and clarity”
(Opera Magazine)
As a Harewood Artist with English National Opera, Katie Stevenson has enjoyed recent appearances in Daniel Kramer’s new production of Harrison Birtwistle’s The Mask of Orpheus, as Kate Pinkteron in Anthony Minghella’s celebrated production of Madam Butterfly, and garnered particular attention as Nefertiti in Phelim McDermott’s production of Akhnaten, “her sonorous tones a telling counterpoint to Roth Costanzo’s bright falsetto” (Evening Standard). This season Katie sings her first Grimgerde for the company in Richard Jones’ production of The Valkyrie under Martyn Brabbins, as well as for Longborough Festival Opera as part of their new Der Ring des Nibelungen under Anthony Negus.
Further operatic highlights include the title role in Porpora’s rarely performed L’Agrippina for Barber Opera in Birmingham, Third Lady in Die Zauberflöte for both ENO and Garsington in Netia Jones’ new production under Christian Curnyn, and her company debut with Longborough Festival Opera as Flosshilde in Das Rheingold. On the concert platform, Katie made her BBC Proms debut in Vaughan Williams’ Serenade to Music with the BBC Symphony Orchestra under Sakari Oramo as part of the Last Night of the Proms, and joined Orquesta Sinfónica Del Principado De Asturias for Kindertotenlieder. In recent months, she has also added Verdi’s Messa da Requiem, Dvořák’s Stabat Mater and Elgar’s Dream of Gerontius to an ever-expanding repertoire.
In competition, Katie was the recipient of all three prizes at the Wagner Society Singing Competition, culminating in an invitation to attend the Bayreuth Young Scholars Programme, and won the 2016 Marjorie Thomas Art of Song prize.

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“Shostakovich’s late Poems of Marina Tsvetaeva and Britten’s A Charm of Lullabies, both with the mezzo Katie Stevenson as the touching soloist.”
“Britten’s A Charm of Lullabies were delivered with characterful warmth by the mezzo-soprano Katie Stevenson, who pulled off an impressive double by switching with equal poise to Shostakovich’s fiercely angular approach to the Poems of Marina Tsvetaeva.”
“Katie Stevenson impresses as Nefertiti”
“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.”
“As Nefertiti, the pharaoh’s wife, Katie Stevenson towers over him, her sonorous tones a telling counterpoint to Roth Costanzo’s bright falsetto”
“British mezzo Katie Stevenson, performing with poise and clarity as the Theatre Director”
“… and Katie Stevenson were as fine a trio of Ladies as anyone could wish, singing as fabulously as they looked”
“Katie Stevenson was a compelling, committed Agrippina”
“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”
“Katie Stevenson sculpted Virtù’s and Venere’s lines to striking effect”
“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.”
“A fruity force to be reckoned with”
“Katie Stevenson similarly raised smiles as sister-in-law – one suspects that covers a multitude of sins – to the Headman.”
“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.”
Georgina Wheatley
