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“Der Hölle Rache kocht in meinem Herzen,”Die Zauberflöte, The Metropolitan Opera

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“Hell’s vengeance boils in my heart,”The Magic Flute, The Metropolitan Opera

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“O zittre nicht, mein lieber Sohn,”Die Zauberflöte, The Metropolitan Opera

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“Oh, Tremble not, my beloved son,”The Magic Flute, The Metropolitan Opera

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“Piangerò la sorte mia,” Händel’s Giulio Cesare

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“Caro Nome,” Verdi’s Rigoletto

“Der Hölle Rache kocht in meinem Herzen,”Die Zauberflöte, The Metropolitan Opera

“Hell’s vengeance boils in my heart,”The Magic Flute, The Metropolitan Opera

“O zittre nicht, mein lieber Sohn,”Die Zauberflöte, The Metropolitan Opera

“Oh, Tremble not, my beloved son,”The Magic Flute, The Metropolitan Opera

“Piangerò la sorte mia,” Händel’s Giulio Cesare

“Caro Nome,” Verdi’s Rigoletto

BACK TO SINGERS I OUR ARTISTS

Kathryn Lewek

Soprano

Soprano Kathryn Lewek has established herself as one of opera’s strongest coloratura sopranos of this generation and is now expanding her resume with some of the most vocally challenging roles in the soprano repertoire.

This summer, Ms. Lewek “perform[ed] a miracle” and was “expecially brilliant” in her role début as Ginevra in Ariodante with Salzburger Pfingstfestspiele in Austria, opposite Cecilia Bartoli. Critics exclaimed: “the intonation was unbreakable, the legato and the alternation of the register, the uniquely shimmering yet firm quality, the intensity of the melting of the sound, such charming grace” (Salzburger Nachrichten), “Such a rich (and richly differentiated) soprano voice has not been experienced for a long time” (Salzburger Nachrichten), “Kathryn Lewek brings to light all facets of stupendous virtuosity. The loneliness, turmoil, and modern ego-lostness that she has to put into the three arias of the last tragic scene before the happy ending moved to tears” (Dreh Punkt Kultur), and “The dynamic and emotional range that Lewek was able to generate took your breath away, so you could have heard a pin drop during her scene” (Bachtrack).

Jun
2017

Jun-02
to
Jun-05
Ariodante
Ginevra
Salzburger Pfingstfestspiele
Salzburg, Austria
Jul
2017

Jul-23
BBC Proms: Sir Henry’s Magnificent Musical Inspirations
Soprano Soloist
Royal Albert Hall
London, England
Aug
2017

Aug-16
to
Aug-28
Ariodante
Ginevra
Salzburger Pfingstfestspiele
Salzburg, Austria
Aug-31
Die Zauberflöte
Queen of the Night
Deutsche Oper Berlin
Berlin, Germany
Sep
2017

Sep-27
to
Oct-14
Die Zauberflöte
Queen of the Night
The Metropolitan Opera
New York, NY
Nov
2017

Nov-25
to
Dec-09
The Magic Flute
Queen of the Night
The Metropolitan Opera
New York, NY
Dec
2017

Dec-11
The Peggy Rockefeller Concerts
Soloist
Rockefeller University
New York, NY
Dec-18
Messiah
Soloist
Oratorio Society of New York
New York, NY
Dec-21
Messiah
Soloist
Musica Sacra
New York, NY
Jan
2018

Jan-13
Toledo Opera Gala
Soloist
Toledo Opera
Toledo, OH
Feb
2018

Feb-10
Recital
Soloist
Messiah College
Mechanicsburg, PA
Feb-22
to
Feb-27
Die Zauberflöte
Queen of the Night
Pacific Symphony
Irvine, CA
May
2018

May-05
to
May-26
Candide
Cunegonde
Washington National Opera
Washington, DC
Please click below to see full quote

…takes your breath away…
 Ariodante – “But the real discovery of production is Kathryn Lewek as Ginevra. What the young American coloratura soprano has developed in colors, especially from the piano, takes your breath away. It reaches its climax in the almost quarter-hour aria ‘Il mio crudel martoro,’ in which it measures the whole range from the finest vocal cord to the most penetrating swell, from pale colors to gleaming intensity. Lewek sings with full risk spontaneously, which is a touching contrast to the intrigues and emotional illusions in the play.”Neue Zürcher Zeitung
…a presence of full diva proportions…
 Die Zauberflöte – “Soprano Kathryn Lewek, the Queen of the Night, was a presence of full diva proportions: not only could she toss off the passagework and high notes of the role with apparent ease, but also, in her Act II rage aria, she could do so while realizing the stage direction of Ian Rutherford to drag Pamina mercilessly across the stage floor.” – Opera News
…sensational and comically seductive at the same time…
 Il barbiere di Siviglia – “Not only did Lewek reach higher notes in her coloratura flights, she also conspired to deliver more comedy. From the moment she launched into the famed ‘Una voce poco fa,’ proclaiming Rosina’s devilish tendencies, it was obvious the Lewek was capable of meeting the pyrotechnical demands of this showpiece. … Lewek delivers these passages with sudden surges in volume to enhance the effect. Sensational and comically seductive at the same time.”Broadway World 
…gloriously pure…
 Maria Stuarda –  “Her upper range is gloriously pure: the bel canto decoration sounds effortless, and she has the wonderful ability to sing really high, really softly. And, as she showed in the last act, she can certainly hold those high notes. But it is the other side of the voice that is also essential to that repertoire: the darker, emotional power of the lower range. She has it, and it moves seamlessly into the purity of the upper. This is a soprano performance of a quality that should not be missed.” – Edmonton Journal 
…playful and spirited…
Benvenuto Cellini –  “But in my opinion, the most perfect casting was the choice of Kathryn Lewek as the innocent, lovely, but playful and spirited Teresa. Lewek’s pure, beautifully clear voice and emotional range was wonderful to experience.” – Barcelona Metropolitan
Soprano Kathryn Lewek has established herself as one of opera’s strongest coloratura sopranos of this generation and is now expanding her resume with some of the most vocally challenging roles in the soprano repertoire.

This summer, Ms. Lewek “perform[ed] a miracle” and was “expecially brilliant” in her role début as Ginevra in Ariodante with Salzburger Pfingstfestspiele in Austria, opposite Cecilia Bartoli. Critics exclaimed: “the intonation was unbreakable, the legato and the alternation of the register, the uniquely shimmering yet firm quality, the intensity of the melting of the sound, such charming grace” (Salzburger Nachrichten), “Such a rich (and richly differentiated) soprano voice has not been experienced for a long time” (Salzburger Nachrichten), “Kathryn Lewek brings to light all facets of stupendous virtuosity. The loneliness, turmoil, and modern ego-lostness that she has to put into the three arias of the last tragic scene before the happy ending moved to tears” (Dreh Punkt Kultur), and “The dynamic and emotional range that Lewek was able to generate took your breath away, so you could have heard a pin drop during her scene” (Bachtrack).

Also this summer she reprised her signature role as Queen of the Night in Die Zauberflöte with The Deutsche Oper Berlin, and performed the Queen of the Night aria as one of the ten pieces in “Sir Henry’s Magnificent Musical Inspirations” concert with the Royal Philharmonic Orchestra at BBC Proms Classical Music Festival.  This season, she will return to Washington National Opera as Cunegonde in their production of Candide and reprise her role as the reigning Queen of the Night with The Metropolitan Opera, Festival d’Aix-en-Provence, Dutch National Opera, and Pacific Symphony.

In concert, Ms. Lewek will perform the soprano solo in Händel’s Messiah with Music Sacra and Oratorio Society of New York, sing at Galas for The Opera Foundation and Toledo Opera, and perform a recital with Rockefeller University and a recital and masterclass with Messiah College. Upcoming seasons include a role début as the three Heroines in Les contes d’Hoffmann and a return to The Gran Teatre del Liceu as well as multiple returns to The Metropolitan Opera.

With an impressive history of leading female roles in her career, recent seasons’ engagements have also included role débuts as Teresa in Benvenuto Cellini with Gran Teatre del Liceu in Barcelona; Konstanze in Die Entführung aus dem Serail with Deutsche Oper Berlin; the title role of Maria Stuarda with Edmonton Opera; and Rosina in Il barbiere di Siviglia and the title role in Lucia di Lammermoor with Toledo Opera and Opera Carolina.

Other notable roles include Angelica in Händel’s Orlando with The Hobart Baroque in Tasmania, for which she won a Helpmann Award; La Fée in Cendrillon with New Orleans Opera; and Cunegonde in Francesca Zambello’s Candide in her company début with Glimmerglass Opera. European débuts also include the role of Jessica in the world première of André Tchaikowsky’s Kupiec Wenecki (The Merchant of Venice) with Bregenzer Festspiele. This production was awarded the International Opera Award 2014 in the category “Best World Première”.

Ms. Lewek’s interpretation of her signature role, a quintessential Mozart villain, Queen of the Night, has garnered international critical acclaim: “Kathryn Lewek, a favorite Queen of the Night these days, nailed her otherworldly coloratura arpeggios to the wall in her ‘Vengeance’ aria, but more impressive to me was the pathos with which she quickly conveyed, in Act 1, the full suffering of a mother whose child has been kidnapped.” She performed the role in productions of Die Zauberflöte in débuts with The Metropolitan Opera, The Deutsche Oper Berlin, Bregenzer Festspiele, Houston Grand Opera, Lyric Opera of Chicago, Washington National Opera, Wiener Straatsoper, Teatro Real in Madrid, Festival d’Aix-en-Provence, Opera Leipzig, Opera de Toulon, English National Opera, Nashville Opera, Lyric Opera of Kansas City, Welsh National Opera, and The Royal Danish Opera.

Of her Carnegie Hall début in Händel’s Messiah, The New York Times hailed “Communicative verve and thrilling beauty came together in the soprano Kathryn Lewek. She began ‘Rejoice greatly, O daughter of Zion’ at exhilarating speed, then took her time on the words ‘He shall speak peace,’ lovingly ornamenting the cadence in a way that was both original and entirely subservient to the music.” She has since performed the piece with both the Oratorio Society of New York and Musica Sacra of New York.

Having been widely lauded for her numerous operatic and oratorio performances, Ms. Lewek is also receiving critical acclaim for her decisive interpretations of contemporary art song and vast concert repertoire. Recent concert engagements for Ms. Lewek include Bach’s B-minor Mass with Soli deo Gloria and Carmina Burana with Dallas Symphony. She also performed under the baton of the illustrious Maestro John Nelson for Bach’s Christmas Oratorio with Orchestra symphonique de Montréal and for Haydn’s Creation.

Additionally, she enjoyed appearances at Alice Tully Hall at Lincoln Center, on the Perelman Stage at Carnegie Hall, with the Rochester Philharmonic Orchestra, the Santa Barbara Symphony, Toledo Symphony, Music of the Baroque, the Fairfield County Chorale, the Berkshire Choral Festival, the Great Neck Choral Society, Finger Lakes Choral Society, the Greenwich Choral Society, and the Rochester Chamber Orchestra. With these and other orchestras, she performed in Händel’s Israel in Egypt; Mozart’s C-minor Mass, Krönungmesse (Coronation Mass), and Requiem; Orff’s Carmina Burana; Haydn’s Missa in tempore belli and Große Orgelmesse; Verdi’s Requiem, Bach’s Magnificat, Judas Maccabeus, and Christ lag in Todas Banden; Brahm’s Requiem; Mendelsshon’s Elijah; Carissimi’s Vanitas Vanitatum; Monteverdi’s Vespro della Beata Vergine 1610; and Zelenka’s Te Deum.

Ms. Lewek began her career as the grand prize winner of the Opera Foundation’s International Vocal Scholarship and was granted a contract with the Deutsche Oper Berlin where she performed roles in thirteen productions including Die Zauberflöte, Carmen, Don Carlo, Hänsel und Gretel, Le nozze di Figaro, and Verdi’s I due Foscari.   Whilst there she also performed Dolcina in Suor Angelica with the Deutsches Symphonie Orchester.

Ms. Lewek has two recordings on the Albany Records label, Kathryn Lewek sings Cary Ratcliff, and the collaborative album Quicksilver, with the internationally acclaimed guitar and flute duo Nicholas Goluses and Bonita Boyd.

She was a double prize winner at the 2013 Operalia World Opera Competition including the highly competitive Audience Favorite Award. Ms. Lewek earned Bachelor of Music and Master of Music degrees in Voice Performance and Literature from the Eastman School of Music, where she was also awarded a Performance Certificate in Voice for her many successes upon the Eastman Theater stage. She was a Music Academy Fellow during the summer of 2009 at the Music Academy of the West in Marilyn Horne’s esteemed vocal program where she was hailed as “…one of those inspiring triumphs from the wings” and was praised for her “strength and radiance.” Ms. Lewek continues her vocal studies with the internationally renowned soprano, Diana Soviero, in New York City.

 

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