Catherine Wyn-Rogers

Introduction

Catherine Wyn-Rogers studied at the Royal College of Music and works with Diane Forlano. She appears regularly at the BBC Proms, Wigmore Hall and the Three Choirs, Edinburgh and Aldeburgh festivals. She has performed with Slatkin, Haitink, Andrew Davis, Colin Davis, Rozhdestvensky, Mackerras, Norrington and Mehta, and has recorded extensively for the major labels.

A regular guest of the Bavarian State Opera, English National Opera and Royal Opera House, Covent Garden she has also performed at the houses of Chicago, Houston, Milan, Amsterdam, Dresden, Madrid and Paris; at Scottish Opera, Welsh National Opera and Opera North; and at the Salzburg, Glyndebourne and Verbier festivals. She sang Erda and Waltraute in Valencia and Florence with Zubin Mehta, and Adelaide (Arabella) for the Metropolitan Opera.

Engagements this season include Barber’s Vanessa with the Deutsche Symphonie Orchester (David Zinman), a new production of Frank Martin’s Le vin herbe for Welsh National Opera, and Peter Grimes at the Edinburgh Festival (Edward Gardner).

This is for information only and should not be reproduced. Please contact Jonathan Turnbull for a full biography and for performance details.

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    Siegried (Erda)

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Schedule

St Paul's Cathedral, London

The MS Society Christmas Concert, sponsored by Morgan Stanley, will be a memorable and enjoyable evening of music, carols and readings by well-known actors and supporters of the MS Society. It is being held to raise funds for the MS Society's Stop MS Appeal. For further information and updates please visit www.mssociety.org.uk/stpauls


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Press

Schoenberg

Moses und Aron

Teatro Real, Madrid

The remainder of the cast was excellent – Catherine Wyn Rogers’ piquant mezzo stood out... Operatraveller.com

TCHAIKOVSKY

Eugene Onegin

Royal Opera House, Covent Garden / December 2015

"Diana Montague and Catherine Wyn-Rogers are luxury casting as Madame Larina and Filipyevna respectively" Sam Smith, Musicomh.com, 22 Dec 2015
"Catherine Wyn-Rogers played the nurse Filipyevna affectingly straight" Richard Batby, The Spectator, 7 January 2016
"Catherine Wyn Rogers as Filipyevna shone, as last time." Mark Berry, Seen and Heard, 21 December 2015

Stravinsky

The Rake's Progress

Edinburgh Festival (Usher Hall), SCO, Sir Andrew Davis

I shall never forget Catherine Wyn-Rogers, clearly relishing the bit-part of Mother Goose, dragging Tom off stage with a pink feather boa. Kate Molleson, The Guardian
Catherine Wyn-Rogers sang Mother Goose with a glittery, beady tone, lassoing Staples with a fuchsia feather boa.
Anna Picard, The Times

Britten

The Rape of Lucretia

Glyndebourne Festival

 Catherine Wyn-Rogers’ warmly maternal Bianca George Hall, The Guardian
Catherine Wyn-Rogers a warm-toned Bianca Richard Fairman, Financial Times
Wyn-Rogers was the pick of the singers in pure beauty of timbre David Karlin, Bachtrack
Catherine Wyn-Rogers is a fresh-sounding Bianca Edward Bhesania, The Stage
Junius, Bianca and Lucia are strongly taken by Michael Sumuel, Catherine Wyn-Rogers and Louise Alder.   Rupert Christiansen, The Telegraph
Bianca is one of many roles which Catherine Wyn-Rogers seems to ‘own’ in that once you have seen her in the part it’s difficult to imagine any other singer giving it such sympathy and strength.  Melanie Eskenazi, Music OMH

Mahler Symphony 2

Royal Liverpool Philharmonic Orchestra, Sir Andrew Davis. Liverpool Philharmonic Hall

Catherine Wyn-Rogers’ seraphic singing of the folk poem Urlicht was a still, quiet moment in which sanity seemed to be restored. 
Alfred Hickling, The Guardian

Mahler

Symphony No.2

Melbourne Symphony Orchestra, Sir Andrew Davis

Taking its text from Das Knaben Wunderhorn, the simplicity and serenity of mezzo Wyn-Rogers' was beautifully moving in the Urlicht as she channelled an angel of guiding light. Sydney Morning Herald

Dvorak

Dvorak Stabat Mater

Worcester Cathedral

Mezzo Catherine Wyn Rogers' singing, meanwhile,  was the highlight of the solos, both tender and passionate. Rian Evans, The Guardian

Elgar

BBC Proms 2014 First Night

Royal Albert Hall

Duetting with violinist Stephen Bryant, soprano Erin Wall sounded radiant in The Sun Goeth Down, though she lacked some of the self-possession of the magnificent Catherine Wyn-Rogers, who was first a smooth Mary Magdalene and then a fierce, Valkyrie-like narrator. Erica Jeal, The Guardian
Catherine Wyn-Rogers’ Mary Magdalene, bracing and declamatory. Alexandra Coghlan, The Independent
Catherine Wyn-Rogers as Mary Magdalene was particularly strong. 
Ivan Hewett, The Telegraph

Debussy

La damoiselle élu

Royal Festival Hall

And what better musical education than singing with the Philharmonia and listening to the gleaming phrases of the tenor soloist Benjamin Hulett in the Berlioz and the musky supplications of the mezzo-soprano Catherine Wyn-Rogers in Debussy’s La damoiselle élue? Anna Picard, The Times

Britten

Albert Herring, November 2013

Barbican Centre

...or would be if he weren’t crushed by Mum, marvellously incarnated by Catherine Wyn-Rogers at her finest.  Michael Tanner, The Spectator

Michael Tippett

A Midsummer Marriage

BBC Proms, Royal Albert Hall

Catherine Wyn-Rogers delivered Sosostris's inscrutable utterances memorably George Hall, The Guardian
Catherine Wyn-Rogers’s sonorous Sosostris intoned imposingly from the back of the stage.  Hugo Shirley, The Telegraph
By far the most imposing performance, at any rate on radio, was Catherine Wyn-Rogers as Madame Sosostris, whose Act III monologue is not only the longest piece of solo singing in the opera but also by far the most impressive.
Michael Tanner, The Spectator

Benjamin Britten

Peter Grimes

Aldeburgh Beach

The other characters make a marvellous gallery, from Gaynor Keeble's Auntie and Catherine Wyn-Rogers' Mrs Sedley to Charles Rice's Ned Keene and Robert Murray's Bob Boles; all human life really is there.  Andrew Clements, The Guardian
...with Catherine Wyn-Rogers outstanding as Mrs Sedley... Michael Tanner, The Spectator

Prokofiev

Alexander Nevsky

Barbican Centre

But in the scene where Olga searches the battlefield for her pair of combating suitors, the rich-toned Catherine Wyn-Rogers was a tower of strength, projecting her part, vocally and dramatically, to perfection. Classical Source

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