Catherine Wyn-Rogers


Catherine Wyn-Rogers was a Foundation Scholar at the Royal College of Music, studying with Meriel St Clair and gaining several prizes including the Dame Clara Butt award. She continued her studies with Ellis Keeler and now works with Diane Forlano.

Catherine appears with the Three Choirs, Edinburgh and Aldeburgh festivals, and also at the BBC Proms, where she was a memorable soloist in the 1995 Last Night. She has performed in concert with Leonard Slatkin, Bernard Haitink, Sir Andrew Davis, Sir Colin Davis, Gennady Rozhdestvensky, Sir Charles Mackerras, Sir Roger Norrington, Edward Gardner and Zubin Mehta. Her numerous recordings include Samson with Harry Christophers, The Dream of Gerontius with Vernon Handley for EMI, Mozart's Vespers with Trevor Pinnock for DG, Peter Grimes with the London Symphony Orchestra and Sir Colin Davis, and Graham Johnson's Complete Schubert Edition for Hyperion. 

Catherine sang Erda and Waltraute in Valencia and Florence with Zubin Mehta and appeared at the Lyric Opera of Chicago as Sosostris in The Midsummer Marriage. She made her debut for the Teatro alla Scala as Mrs Sedley in Peter Grimes, and for the Metropolitan Opera as Adelaide in Arabella. She is a regular guest of the English National Opera, the Royal Opera House, Covent Garden and the Bavarian State Opera, Munich, and has also worked with the Scottish Opera, the Welsh National Opera, Opera North, the Salzburg Festival, the Netherlands Opera and the Bordeaux Opera.

Upcoming concert engagements include the Toronto Symphony Orchestra with Peter Oundjian and the Melbourne Symphony Orchestra with Sir Andrew Davis. Catherine returns to the Royal Opera House, Covent Garden to sing her first Mary in Der Fliegende Höllander, and makes her debut for the Glyndebourne Festival with Rape of Lucretia. 

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)



Philharmonie Berlin, BERLIN

BARBER 'Vanessa'
“Vanessa. Oper in 3 Akten, op. 32 [revidierte Fassung von 1964]“ Verlag/publisher: Schirmer.

Conductor: David Zinman

Vanessa: Erin Wall
Nicholas, der Haushofmeister: Stephen Barchi
Der Diener: Johannes Schendel

Deutsches Symphonie-Orchester Berlin
RIAS Kammerchor

DR Koncerthuset, COPENHAGEN

HANDEL 'Messiah'

Conductor: Robert Howarth

Soprano: Carolyn Sampson
Bass: Matthew Brook

Danish National Symphony Orchestra
Danish National Vocal Ensemble

DR Koncerthuset, COPENHAGEN

HANDEL 'Messiah'

Conductor: Robert Howarth

Soprano: Carolyn Sampson
Bass: Matthew Brook

Danish National Symphony Orchestra
Danish National Vocal Ensemble

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Moses und Aron

Teatro Real, Madrid

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


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,, 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


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


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


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 Stabat Mater

Worcester Cathedral

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


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


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


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


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