“British mezzo Katie Stevenson performs with poise and clarity”
(Opera Magazine, Nov 2018)
This season ENO Harewood Artist Katie Stevenson sings Kate Pinkerton in Anthony Minghella’s celebrated production of Madam Butterfly under Martyn Brabbins, Third Nymph in Tatjana Gürbaca’s new production of Rusalka conducted by Antony Hermus, and appears in Harrison Birtwistle’s The Mask of Orpheus in a new production by Daniel Kramer, marking the piece’s first revival since it’s premiere. Elsewhere Katie reprises the role of Kate Pinkerton for Grand Théâtre de Luxembourg, as well as returning to Longborough Festival Opera for the second instalment of their new Ring Cycle with performances as Grimgerde in Die Walküre under Anthony Negus.
Recent highlights have included Katie’s critically acclaimed debut performances as Nefertiti in Phelim McDermott’s production of Akhnaten conducted by Karen Kamensek for ENO, Third Lady in Die Zauberflöte for both ENO and Garsington in Netia Jones’ new production under Christian Curnyn, the title role in Porpora’s rarely performed L’Agrippina for Barber Opera in Birmingham, and her company debut with Longborough Festival Opera as Flosshilde in Das Rheingold. 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, as well as joining the Orquesta Sinfónica Del Principado De Asturiasfor Kindertotenlieder. In recent months Katie has also added Verdi’s Messa da Requiem and Dvořák’s Stabat Mater to her ever-expanding repertoire.
Katie has been the recipient of all three prizes at the Wagner Society Singing Competition, culminating in an invitation to attend the Bayreuth Young Scholars Programme, as well as winning the 2016 Marjorie Thomas Art of Song prize.
Trad. (arr. Gerald Moore): Blow the Wind Southerly
“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.”
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