{"id":244,"date":"2020-05-07T12:25:57","date_gmt":"2020-05-07T10:25:57","guid":{"rendered":"https:\/\/centrestagemanagement.com\/?p=244"},"modified":"2026-09-01T13:37:37","modified_gmt":"2026-09-01T11:37:37","slug":"kate-lindsey","status":"publish","type":"post","link":"https:\/\/centrestagemanagement.com\/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<\/em>–<\/strong>\u00c9lys\u00e9es<\/em>, and the Bavarian State Opera.\u00a0 <\/em><\/p>\n

In the 2026\/27 season, Kate Lindsey returns to the Vienna State Opera as Sesto in Mozart\u2019s La clemenza di Tito<\/em><\/strong>, sings Rosina in Rossini\u2019s Il barbiere di Siviglia <\/em><\/strong>and Charlotte in Massenet\u2019s Werther<\/em><\/strong>, and performs the Komponist in Barrie Kosky\u2019s new production of Richard Strauss\u2019s Ariadne auf Naxos<\/em> <\/strong>under Franz Welser-M\u00f6st. At the Vienna State Opera\u2019s NEST, she reprises the title role in Maarten Seghers\u2019 Lee Miller in Hitler\u2019s Bathtub<\/em> <\/strong>and appears in a chamber music concert. At Salzburg\u2019s Mozartwoche, Lindsey appears as Despina in Bettina Geyer\u2019s semi-staged production of Mozart\u2019s Cos\u00ec fan tutte<\/em> <\/strong>under the baton of Ivor Bolton. She then returns to the Bayerische Staatsoper in Munich as Idamante in Mozart\u2019s Idomeneo<\/em><\/strong> in Ant\u00fa Romero Nunes\u2019 acclaimed production.<\/p>\n

On the concert stage, Lindsey joins the Orchestre Philharmonique Royal de Li\u00e8ge for Beethoven\u2019s Symphony No. 9 and brings her acclaimed recital programme Thousands of Miles<\/em> <\/strong>to La Monnaie in Brussels.<\/p>\n

Career highlights include her company debut at Teatro alla Scala, where she performed in a Weill\u2019s double bill of Mahagonny Songspiel<\/em><\/strong> and Die sieben Tods\u00fcnden<\/em><\/strong>, followed by a return engagement originating the role of Adso da Melk 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 Don Giovanni <\/em><\/strong>and as M\u00e9lisande in Pell\u00e9as et M\u00e9lisande<\/em><\/strong>; and sang the roles of Komponist in Ariadne auf Naxos, <\/em><\/strong>Charlotte in Massenet\u2019s Werther<\/em><\/strong>, Sesto in La clemenza di Tito<\/em><\/strong>, Miranda in The Tempest<\/em><\/strong>, and completed the company\u2019s Monteverdi opera cycle: Nerone in L\u2019incoronazione di Poppea<\/em><\/strong>, La Musica\/La Speranza in L\u2019Orfeo<\/em><\/strong>, and Penelope in Il ritorno d’Ulisse in patria.<\/em><\/strong> With the Metropolitan Opera, she has sung over 100 performances, 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>, Nerone in Agrippina<\/em><\/strong>, Idamante in Idomeneo <\/em><\/strong>as well as Muse\/Nicklausse in Les contes d\u2019Hoffmann.<\/em><\/strong> She also appeared in the latter role at the Salzburg Festival where she most recently made her debut as Elisabetta in Maria Stuarda<\/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, Sir Mark Elder 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. On Samsara<\/em>, her fourth recital on Alpha Classics, released in 2025, Kate Lindsey performs two song cycles centered around a female protaganist: Schumann\u2019s well-known Frauenliebe und Leben and Faur\u00e9’s La Chanson d’\u00c8ve. The mezzo records exclusively with Outhere Music\/Alpha with her next recital album scheduled for release in 2027.<\/p>\n

A native of Richmond, Virginia, Lindsey is now based in the United Kingdom where she lives with her husband and child.<\/p>\n

 <\/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.\u00a0<\/p>\n

In the 2026\/27 season, Kate Lindsey returns to the Vienna State Opera as Sesto in Mozart\u2019s La clemenza di Tito, sings Rosina in Rossini\u2019s Il barbiere di Siviglia and Charlotte in Massenet\u2019s Werther, and performs the Komponist in Barrie Kosky\u2019s new production of Richard Strauss\u2019s Ariadne auf Naxos under Franz Welser-M\u00f6st. At the Vienna State Opera\u2019s NEST, she reprises the title role in Maarten Seghers\u2019 Lee Miller in Hitler\u2019s Bathtub and appears in a chamber music concert. At Salzburg\u2019s Mozartwoche, Lindsey appears as Despina in Bettina Geyer\u2019s semi-staged production of Mozart\u2019s Cos\u00ec fan tutte under the baton of Ivor Bolton. She then returns to the Bayerische Staatsoper in Munich as Idamante in Mozart\u2019s Idomeneo in Ant\u00fa Romero Nunes\u2019 acclaimed production.<\/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:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/posts\/244","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/comments?post=244"}],"version-history":[{"count":27,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/posts\/244\/revisions"}],"predecessor-version":[{"id":12749,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/posts\/244\/revisions\/12749"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/media\/3351"}],"wp:attachment":[{"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/media?parent=244"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/categories?post=244"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/tags?post=244"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}