“One cannot overpraise Lindsey’s ability to characterize strongly while retaining beauty of tone when the music calls for such.” (San Francisco Classical Voice)
One of the most compelling artists of her generation, mezzo-soprano Kate Lindsey is a regular guest on the world’s 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 Théâtre des Champs-Élysées, and the Bavarian State Opera.
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 Mélisande in Pelléas et Mélisande at the Vienna State Opera conducted by Alain Altinoglu. At the Hamburg State Opera, she appears in Tobias Kratzer’s Women’s love and death where she sings Schumann’s Frauenliebe und leben under the musical direction of Karina Canellakis. Lindsey further takes on the title role in Gluck’s Iphigénie en Tauride at the Washington Concert opera and returns the Munich State Opera as Cherubino in Le nozze di Figaro.
“One cannot overpraise Lindsey’s ability to characterize strongly while retaining beauty of tone when the music calls for such.” (San Francisco Classical Voice)
One of the most compelling artists of her generation, mezzo-soprano Kate Lindsey is a regular guest on the world’s 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 Théâtre des Champs-Élysées, and the Bavarian State Opera.
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 Mélisande in Pelléas et Mélisande at the Vienna State Opera conducted by Alain Altinoglu. At the Hamburg State Opera, she appears in Tobias Kratzer’s Women’s love and death where she sings Schumann’s Frauenliebe und leben under the musical direction of Karina Canellakis. Lindsey further takes on the title role in Gluck’s Iphigénie en Tauride at the Washington Concert opera and returns the Munich State Opera as Cherubino in Le nozze di Figaro.
An in-demand interpreter of concert and Lied repertoire, during this concert season Kate Lindsey makes her debut at Vienna’s Musikverein in a solo recital with Helmut Deutsch celebrating his 80th birthday. In her native USA, the mezzo-soprano is heard at Carnegie Hall performing her Thousands of Miles recital program with Baptiste Trotignon, at the New York Festival of Song, and at Heinz Hall where she performs Mahler’s Symphony No. 2 “Resurrection” with Pittsburgh Symphony Orchestra and Manfred Honeck. Later in the season Lindsey is heard in Berlioz’s L’enfance du Christ 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.
Career highlights include her company debut at Teatro alla Scala, where she performed in a Kurt Weill double bill of Mahagonny Songspiel and Die sieben Todsünden and was heard as Adso in the world premiere of Il nome della rosa, composed by Francesco Filidei. With the Vienna State Opera, she created the title roles in the world premieres of Olga Neuwirth’s Orlando and in Maarten Seghers‘s Lee Miller in Hitler’s Bathtub, made her role debut as Donna Elvira in Barry Koskie’s new production of Don Giovanni, and sang the roles of Composer in Ariadne auf Naxos, Charlotte in Massenet’s Werther, Nerone in L’incoronazione di Poppea, Sesto in La clemenza di Tito, Miranda in The Tempest, La Musica and La Speranza in L’Orfeo, and Penelope in Il ritorno d’Ulisse in patria (completing the company’s Monteverdi opera cycle). With the Metropolitan Opera, she has sung over 100 performances in dozens of roles, including Cherubino in Le nozze di Figaro, Hänsel in Hänsel und Gretel, Annio in La clemenza di Tito, Zerlina in Don Giovanni, Muse/Nicklausse in Les contes d’Hoffmann, Nerone in Agrippina, and Idamante in Mozart’s Idomeneo. Additionally, Lindsey sang the first performances of the titular Offred in the English National Opera premiere of Poul Ruders’s The Handmaid’s Tale, the title role of Purcell’s Miranda in a new Katie Mitchell production at the Opéra Comique in Paris, and Sister Helen in Jake Heggie’s Dead Man Walking at Washington National Opera.
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’s most distinguished conductors including Harry Bicket, James Conlon, Vladimir Jurowski, Pablo-Heras-Casado, James Levine, David Robertson, William Christie, Yannick Nézet-Séguin, Thomas Guggeis, Philippe Jordan, Kent Nagano, Teodor Currentzis, Thomas Hengelbrock, and Franz Welser-Möst.
Kate Lindsey’s first solo album, Thousands of Miles, with Baptiste Trotignon, includes works by Weill, Korngold and Zemlinsky. Her second record, Arianna, features the Arcangelo orchestra conducted by Jonathan Cohen and features repertoire of Scarlatti, Handel and Haydn. Entitled Tiranno, Lindsey’s 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’s well-known Frauenliebe und Leben and Fauré’s much more unfamiliar La Chanson d’Ève.
A native of Richmond, Virginia, Lindsey is now based in the United Kingdom where she lives with her husband and child.
