CatherineWyn-Rogers

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Mezzo-Soprano
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  • Iolanthe (Queen of the Fairies)

    English National Opera
    Oct 2023 - Oct 2023

    • Catherine Wyn-Rogers is a class act as the Queen of the Fairies...

    • That responsibility rests with the Queen of the Fairies and The Lord Chancellor. Catherine Wyn-Rogers is perfectly cast as the former. Her flights across the stage, fanciful breastplate, and flame-throwing magic-wand wonderfully caricature a Wagnerian Valkyrie.

    • The moments of pathos, necessary to a truly great comedy (which Iolanthe surely is), don't fall short: Catherine Wyn-Rogers, a new fairy regent, made her ode to resisting mortal men oddly moving...

    • The Queen of the Fairies in this fine production is none other than Catherine Wyn-Rogers, making her role début, often seen in full flight thus adding weight and drama to her part while the star fairy...

    • The redoubtable British mezzo-soprano Catherine Wyn-Rogers was excellent as the publican Auntie in the Royal Opera House’s Peter Grimes, but here she is delightful in her role debut as the stentorian Queen of the Fairies. Looking like a panto dame crossed with one of Wagner’s Valkyries – with a conical metal chest plate in a homage to John-Paul Gaultier – her rich mezzo tones are perfect for the repressed emotion of “Oh, foolish fay” as she admires the physical attributes of Private Willis.

    • Catherine Wyn-Rogers made a formidable Fairy Queen both physically and vocally. She had terrific stage presence allied to an ability to send herself up whilst being completely dead pan, and a killer lower register which is exactly what this role needs.

    • ...while Catherine Wyn-Rogers as an airborne fairy queen...[is] in terrific voice.

    • ...veteran Catherine Wyn-Rogers still capable of full volume and a rich lower register.

  • Peter Grimes (Auntie)

    Opéra national de Paris
    Jan 2023 - Feb 2023

    • Auntie was handed to the great Catherine Wyn-Rogers. She took on the role with such realism that was hard to even remember that she is one of the finest and most refined singers that I have ever seen on the stage: a very efficient case of “deglaming” as Hollywood people say. Her Auntie is extremely aged, and her voice often sounded older than actually is. Most of the night she (interestingly) emphasized the higher harmonics of her instrument, but she delivered an extremely moving “And shall we be ashamed because we confront men from ugliness?”

    • À la fin du premier tableau du même acte, le quatuor qu’elle forme avec Auntie (Catherine Wyn-Rogers, tenancière du Sanglier) et ses deux nièces (Anna-Sophie Neher et Ilanah Lobel-Torres, prostituées) exprime toute l’humanité qui manque à la foule violente, bigote et hypocrite : femmes hors des cadres (veuve ou apparemment peu vertueuses), elles sont des mères pour tous les laissés pour compte. Ce sont elles qui permettent d’encore espérer (« Devrons-nous avoir honte parce que nous faisons oublier la laideur aux hommes ? »). At the end of the first scene of the same act, the quartet she forms with Auntie (Catherine Wyn-Rogers, manager of the Sanglier) and her two nieces (Anna-Sophie Neher and Ilanah Lobel-Torres, prostitutes) expresses all humanity who is missing from the violent, bigoted and hypocritical crowd: women outside the framework (widowed or apparently not very virtuous), they are mothers for all those left behind. They are the ones who still allow us to hope (“Should we be ashamed because we make men forget ugliness?”).

    • ...les remarquables Catherine Wyn-Rogers...Vocalement reconnaissable, chacun habite son rôle à la perfection. ...the remarkable Catherine Wyn-Rogers...Vocally recognizable, everyone inhabits their role to perfection.

    • Catherine Wyn-Rogers campe une Tantine distante, au timbre chaud et à la voix ferme... Catherine Wyn-Rogers plays a distant Auntie, with a warm timbre and a firm voice...

    • Molto convincenti anche le interpretazioni di Catherine Wyn-Rogers (Auntie) e Rosie Aldridge (Mrs Sedley), entrambe accattivanti nella loro umanità maldestra. Also very convincing are the performances of Catherine Wyn-Rogers (Auntie) and Rosie Aldridge (Mrs Sedley), both captivating in their clumsy humanity. ★★★★★

    • Sur scène, les chœurs trouvent l’articulation juste tandis que la distribution constitue un sans-faute...la Tantine savoureuse de Catherine Wyn-Rogers...tous seraient à louer de manière détaillée. On stage, the choirs find the right articulation while the cast is flawless...Catherine Wyn-Rogers' savory Auntie...all would be to be praised in detail.

    • Here Catherine Wyn Rogers was wonderfully unsettling with her down-at-heel Auntie, a character almost lifted from a Soap, strongly drawn and brilliantly conveyed.

    • ...Catherine Wyn-Rogers se délectant du personnage haut en couleurs d’Auntie... ...Catherine Wyn-Rogers reveling in the colorful character of Auntie...

  • Peter Grimes (Auntie)

    Royal Opera House, London
    Mar 2022 - Mar 2022

    • Around them are a host of exceptional actor-singers playing the best cameo roles of their careers. They include John Tomlinson’s blustery Swallow, Jacques Imbrailo’s drug-dealer Ned Keene, Catherine Wyn-Rogers’s truly intimidating Auntie, John Graham-Hall’s stridently Bible-bashing Bob Boles and Rosie Aldridge’s obsessively prying Mrs Sedley. ★★★★★

    • Quasi intégralement anglaise, la distribution traite le chant comme du théâtre et s’attèle à toujours porter très clairement le texte...qu’avec l’Aunties mielleuse de Catherine Wyn-Rogers... Almost entirely English, the cast treats the singing like theater and strives to always convey the text very clearly...as with the honeyed Auntie of Catherine Wyn-Rogers...

    • Auntie, la propriétaire de la taverne, assume son rôle pivot par le mezzo de Catherine Wyn-Rogers. Ses habitudes dans le répertoire de Wagner et Strauss se retrouvent dans des registres inférieurs bien articulés, lui donnant cette autorité lugubre attendue du personnage et de sa représentation. Auntie, the tavern owner, assumes her pivotal role through the mezzo of Catherine Wyn-Rogers . Her habits in the repertoire of Wagner and Strauss are found in well-articulated lower registers, giving her that lugubrious authority expected of the character and her representation.

    • Catherine Wyn-Rogers’ world-weary Auntie has seen it all, and sings of bitter experience at the hands of masculinity’s failings in the Act two quartet.

    • Auntie herself is presented sympathetically by Catherine Wyn-Rogers...

    • Catherine Wyn-Rogers gave us a world-weary yet lively Auntie of experience...