“British mezzo Katie Stevenson performs with poise and clarity”
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 Asturiasfor 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.
Trad. (arr. Gerald Moore): Blow the Wind Southerly
“Shostakovich’s late Poems of Marina Tsvetaeva and Britten’s A Charm of Lullabies, both with the mezzo Katie Stevenson as the touching soloist.”
(Guardian, October 2020)
“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.”
(Rupert Christiansen, Telegraph, October 2020)
“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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