{"id":244,"date":"2020-05-07T12:25:57","date_gmt":"2020-05-07T10:25:57","guid":{"rendered":"https:\/\/csam.tobetold.film\/?p=244"},"modified":"2025-09-01T12:47:34","modified_gmt":"2025-09-01T10:47:34","slug":"kate-lindsey","status":"publish","type":"post","link":"https:\/\/csam.tobetold.film\/en\/artists\/mezzo_soprano\/kate-lindsey\/","title":{"rendered":"Kate Lindsey"},"content":{"rendered":"

“One cannot overpraise Lindsey\u2019s ability to characterize strongly while retaining beauty of tone when the music calls for such.\u201d (San Francisco Classical Voice)<\/em><\/p>\n

One of the most compelling artists of her generation, mezzo-soprano Kate Lindsey is a regular guest on the world\u2019s most celebrated stages, including the Metropolitan Opera, the Royal Opera House Covent Garden, the Vienna State Opera, the Salzburg Festival, Glyndebourne Opera Festival, Festival Aix-en-Provence, the Th\u00e9\u00e2tre des Champs-\u00c9lys\u00e9es, and the Bavarian State Opera.<\/p>\n

In 2025\/26, Kate Lindsey continues to dazzle audiences in wide variety of role debuts and new productions. Lindsey commences her season with a highly anticipated debut as M\u00e9lisande in Pell\u00e9as et M\u00e9lisande<\/em><\/strong> at the Vienna State Opera conducted by Alain Altinoglu. At the Hamburg State Opera, she appears in Tobias Kratzer\u2019s Women’s love and death<\/em><\/strong> where she sings Schumann\u2019s Frauenliebe und leben<\/em><\/strong> under the musical direction of Karina Canellakis. Lindsey further takes on the title role in Gluck\u2019s Iphig\u00e9nie en Tauride<\/em><\/strong> at the Washington Concert opera and returns the Munich State Opera as Cherubino in Le nozze di Figaro<\/em><\/strong>.<\/p>\n

An in-demand interpreter of concert and Lied repertoire, during this concert season Kate Lindsey makes her debut at Vienna\u2019s Musikverein in a solo<\/em> recital with Helmut Deutsch celebrating his 80th<\/sup> birthday. In her native USA, the mezzo-soprano is heard at Carnegie Hall performing her Thousands of Miles<\/em> recital program with Baptiste Trotignon, at the New York Festival of Song, and at Heinz Hall where she performs Mahler\u2019s Symphony No. 2 \u201cResurrection\u201d<\/em> <\/strong>with Pittsburgh Symphony Orchestra and Manfred Honeck. Later in the season Lindsey is heard in Berlioz\u2019s L\u2019enfance du Christ<\/em><\/strong> in Valencia with Orquestra de la Comunitat Valenciana under the baton of Sir Mark Elder and performs a concert in Bologna with Thomas Hengelbrock conducting Cuban-European Youth Academy.<\/p>\n

Career highlights include her company debut at Teatro alla Scala, where she performed in a Kurt Weill double bill of Mahagonny Songspiel<\/em><\/strong> and Die sieben Tods\u00fcnden<\/em><\/strong> and was heard as Adso in the world premiere of Il nome della rosa<\/em><\/strong>, composed by Francesco Filidei. With the Vienna State Opera, she created the title roles in the world premieres of Olga Neuwirth\u2019s Orlando <\/em><\/strong>and in Maarten Seghers\u2018s Lee Miller in Hitler\u2019s Bathtub, <\/em><\/strong>made her role debut as Donna Elvira in Barry Koskie\u2019s new production of Don Giovanni<\/em><\/strong>, and sang the roles of Composer in Ariadne auf Naxos, <\/em><\/strong>Charlotte in Massenet\u2019s Werther<\/em><\/strong>, Nerone in L\u2019incoronazione di Poppea<\/em><\/strong>, Sesto in La clemenza di Tito<\/em><\/strong>, Miranda in The Tempest<\/em><\/strong>, La Musica and La Speranza in L\u2019Orfeo<\/em><\/strong>, and Penelope in Il ritorno d’Ulisse in patria <\/em><\/strong>(completing the company\u2019s Monteverdi opera cycle). With the Metropolitan Opera, she has sung over 100 performances in dozens of roles, including Cherubino in Le nozze di Figaro<\/em><\/strong>, H\u00e4nsel in H\u00e4nsel und Gretel<\/em><\/strong>, Annio in La clemenza di Tito<\/em><\/strong>, Zerlina in Don Giovanni<\/em><\/strong>, Muse\/Nicklausse in Les contes d\u2019Hoffmann<\/em><\/strong>, Nerone in Agrippina<\/em><\/strong>, and Idamante in Mozart\u2019s Idomeneo.<\/em><\/strong> Additionally, Lindsey sang the first performances of the titular Offred in the English National Opera premiere of Poul Ruders\u2019s The Handmaid\u2019s Tale<\/em><\/strong>, the title role of Purcell\u2019s Miranda<\/em><\/strong> in a new Katie Mitchell production at the Op\u00e9ra Comique in Paris, and Sister Helen in Jake Heggie\u2019s Dead Man Walking<\/em><\/strong> at Washington National Opera.<\/p>\n

A seasoned concert artist, Lindsey has appeared with the Boston Symphony Orchestra, Philadelphia Orchestra, Royal Concertgebouw Orkest, the New York Philharmonic, the Cleveland Orchestra, the Metropolitan Opera Chamber Orchestra at Carnegie Hall, Orchestre de Paris, Berliner Philharmoniker, the NDR Elbphilharmonie Orchester, the BBC Proms, and the Washington Concert Opera. She has been a favorite with many of the world\u2019s most distinguished conductors including Harry Bicket, James Conlon, Vladimir Jurowski, Pablo-Heras-Casado, James Levine, David Robertson, William Christie, Yannick N\u00e9zet-S\u00e9guin, Thomas Guggeis, Philippe Jordan, Kent Nagano, Teodor Currentzis, Thomas Hengelbrock, and Franz Welser-M\u00f6st.<\/p>\n

Kate Lindsey\u2019s first solo album, Thousands of Miles<\/em>, with Baptiste Trotignon, includes works by Weill, Korngold and Zemlinsky. Her second record, Arianna,<\/em> features the Arcangelo orchestra conducted by Jonathan Cohen and features repertoire of Scarlatti, Handel and Haydn. Entitled Tiranno,<\/em> Lindsey\u2019s third disc focuses on the historical character of Nero and includes Baroque works of Handel and Monteverdi, featuring world premiere recordings of cantatas by Scarlatti and Bartolomeo Monari. The mezzo records exclusively with Outhere Music\/Alpha. On ‘Samsara’, her fourth recital on Alpha Classics, released in 2025, Kate Lindsey performs two song cycles centred around a female protaganist: Schumann\u2019s well-known Frauenliebe und Leben and Faur\u00e9’s much more unfamiliar La Chanson d’\u00c8ve.<\/p>\n

A native of Richmond, Virginia, Lindsey is now based in the United Kingdom where she lives with her husband and child.<\/p>","protected":false},"excerpt":{"rendered":"

“One cannot overpraise Lindsey\u2019s ability to characterize strongly while retaining beauty of tone when the music calls for such.\u201d (San Francisco Classical Voice)<\/p>\n

One of the most compelling artists of her generation, mezzo-soprano Kate Lindsey is a regular guest on the world\u2019s most celebrated stages, including the Metropolitan Opera, the Royal Opera House Covent Garden, the Vienna State Opera, the Salzburg Festival, Glyndebourne Opera Festival, Festival Aix-en-Provence, the Th\u00e9\u00e2tre des Champs-\u00c9lys\u00e9es, and the Bavarian State Opera.<\/p>\n

In 2025\/26, Kate Lindsey continues to dazzle audiences in wide variety of role debuts and new productions. Lindsey commences her season with a highly anticipated debut as M\u00e9lisande in Pell\u00e9as et M\u00e9lisande at the Vienna State Opera conducted by Alain Altinoglu. At the Hamburg State Opera, she appears in Tobias Kratzer\u2019s Women’s love and death where she sings Schumann\u2019s Frauenliebe und leben under the musical direction of Karina Canellakis. Lindsey further takes on the title role in Gluck\u2019s Iphig\u00e9nie en Tauride at the Washington Concert opera and returns the Munich State Opera as Cherubino in Le nozze di Figaro.<\/p>\n","protected":false},"author":3,"featured_media":3351,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[4],"tags":[],"class_list":["post-244","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-mezzo_soprano"],"acf":[],"_links":{"self":[{"href":"https:\/\/csam.tobetold.film\/en\/wp-json\/wp\/v2\/posts\/244","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/csam.tobetold.film\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/csam.tobetold.film\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/csam.tobetold.film\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/csam.tobetold.film\/en\/wp-json\/wp\/v2\/comments?post=244"}],"version-history":[{"count":20,"href":"https:\/\/csam.tobetold.film\/en\/wp-json\/wp\/v2\/posts\/244\/revisions"}],"predecessor-version":[{"id":9727,"href":"https:\/\/csam.tobetold.film\/en\/wp-json\/wp\/v2\/posts\/244\/revisions\/9727"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/csam.tobetold.film\/en\/wp-json\/wp\/v2\/media\/3351"}],"wp:attachment":[{"href":"https:\/\/csam.tobetold.film\/en\/wp-json\/wp\/v2\/media?parent=244"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/csam.tobetold.film\/en\/wp-json\/wp\/v2\/categories?post=244"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/csam.tobetold.film\/en\/wp-json\/wp\/v2\/tags?post=244"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}