Kate Royal

Introduction

Kate Royal is the winner of the 2004 Kathleen Ferrier Award, 2004 John Christie Award and 2007 Royal Philharmonic Society Young Artist Award.  In October 2006 Kate Royal signed an exclusive contract with EMI Classics.

In opera she has sung Pamina (Die Zauberflöte) for the Glyndebourne Festival and the Royal Opera, Covent Garden, Countess (Le nozze di Figaro) and Governess (The Turn of the Screw) for Glyndebourne on Tour, Helena (A Midsummer Night’s Dream) for both the Teatro Real, Madrid and the Glyndebourne Festival, Poppea for the English National Opera, Miranda (Ades’ The Tempest) for the Royal Opera, Handel’s “L’Allegro” for the Paris Opera,  Micaela (Carmen) for the Glyndebourne Festival and Countess Almaviva for the Aix-en-Provence Festival.

Her concert engagements include both the Berlin Philharmonic and the Orchestra of Bavarian Radio under Rattle, the Scottish Chamber Orchestra and Ticciati and the Rotterdam Philharmonic and Nezet-Seguin. Her recent operatic engagements include Pamina for the Royal Opera and at the Lucerne Festival, and Euridice in her Metropolitan Opera debut.

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

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Repertoire

Opera Repertoire

ADES

The Tempest: Miranda

BIZET
Carmen: Micaela

BRITTEN
A Midsummer Night's Dream: Helena
The Turn of the Screw: Governess

GLUCK
Orfeo ed Euridice: Euridice

MONTEVERDI
L'incoronazione di Poppea: Poppea

MOZART
Idomeneo: Ilia
Le nozze di Figaro: Countess
Die Zauberflöte: Pamina


Concert Repertoire:

Please contact Marcus Spreitzer for full concert repertoire.






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  • SCHUMANN
    Das Paradies und die Peri

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Schedule

Sigyn Hall , Turku

BROKEN HEART FRAGMENTS

Kate Royal, soprano
Laura Birn, reader
Plan8 octet

Texts by Saara Turunen accompanied by songs including Blanc, Françaix, Mozart, Schubert, Schumann, Wolf

Kings Place, London

WEBERN: Six Pieces for Large Orchestra (chamber version)
BERG: Chamber Concerto
MAHLER: Symphony No. 4 (arr. Erwin Stein)

Kate Royal soprano
Anthony Marwood violin
Alexander Melnikov piano
Nicholas Collon conductor

Wigmore Hall, London

Debussy: Prélude à l’après-midi d’un faune 
Fauré: Piano Quartet No. 1 in C minor Op. 15
Ravel: Introduction and Allegro
Berlioz: Les nuits d’été Op. 7 for voice and ensemble 

Kate Royal, soprano
Nash Ensemble
Paul Watkins, conductor


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PRESS ARTICLES & INTERVIEWS

Top artists reveal how to find creative inspiration
The Guardian / 2 January 2012
Click here to read Kate Royal's top tips for unleashing your inner genius

Café Concert: Kate Royal
WQXR: The Classical Music Station of NYC
Click here for link to webpage with interview, audio and video clips

"Lieder sind wie perfekt geformte Edelsteine"
BROnline audio interview / 2 March 2011
Click here for link to webpage

The other Royal wedding: Opera singer Kate Royal on juggling her family with stellar performances worldwide
Sarah Oliver / Daily Mail / 22 January 2011
Click here to read article

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Press

Strauss

Der Rosenkavalier, BBC Proms: 22 July 2014

Royal Albert Hall, London

"One of the benefits of a concert performance – with the lights up – is the chance to follow Hugo von Hofmannstahl's text closely. Kate Royal's Marschallin was a revelation in this and other respects. Over the Glyndebourne run, she has grown into the great role, delivering the Marschallin's idiomatic German with a fresh, creamy tone and a Straussian poise that mark this as a signature role for her career. The wry final-act confession of prejudice against men was a moment to treasure."
Martin Kettle, The Guardian, 23 July 2014

Strauss

Der Rosenkavalier

Glyndebourne Festival

Financial Times Interview: soprano Kate Royal in ‘Der Rosenkavalier’
Click here to read interview
Andrew Clark, Financial Times, 25th April 2014
"the most graceful of Marschallins: in silk-smooth voice, she sang with tender attention to the text and a mixture of warmth and dignity that made the final renunciation sharply moving: her wryly regretful and slightly cross “Ja, ja” spoke volumes and brought a lump to my throat."
Rupert Christiansen, The Telegraph, 18 May 2014
"Kate Royal, an unusually slim, young Marie-Thérèse, copes bravely and convincingly with the production’s unconventional demands"
Andrew Clark, Financial Times, 18 May 2014
"Kate Royal truly held her own, vocally (she’s sounding lovely) and dramatically, at the centre of things, asserting her sexuality and projecting an intelligent “knowingness” through her words. Her reasoning and philosophising rang so true in the latter part of the first act where the march of time and the inherent loneliness of her marriage once more begin to darken her mood. When she and Octavian are at opposite ends of the elongated sofa it is Siberia between them, a passing fancy, no future; on that same sofa the Marschallin curls up in the foetal position alone at the close of the act. A beautiful and moving moment."
Edward Seckerson, The Review, 18th May 2014
Kate Royal: ‘I could sing Act I, put my children to bed, and be back in time for Act III’
Richard Morrison meets Kate Royal at Glyndebourne Richard Morrison, The Times, 8 May 2014
"one of the show’s wonders is Royal’s transformation into powdered, duty-bound grande dame — and, though her voice is light for Act III, she sings touchingly, pensively and with real musicality too."
Richard Morrison, The Times, 19 May 2014
"Kate Royal, on the other hand, is set fair to become the Marschallin of our time. Her regal physical presence is extraordinary, her great first-act aria was spellbinding."
Mark Valencia, Whats On Stage, 19 May 2014
"Kate Royal was singing her first Marschallin (and she will probably never again be asked to articulate 'Beklagt er sich?' in quite the same costume and attitude!) Act One lies low for any Marschallin, and her voice took time to warm up and become expressive, but by the middle of Act One I had decided: she has it in her to become one of the great Marschallins of our time. She looks magnificent —regal, disdainfully amused, totally in control of her body movement and her effect on others —and she began to sound in wonderful voice, never afraid to sing quietly in the key passages that demand it, but with instant variation in tone and dynamic to complement Strauss's ever-changing orchestral textures. Her appearance and demeanour in Act Three, and her vocal line in the trio, were all wonderfully expressive and totally believable: she has the physique du role and as she sings her way into the remaining performances of the run, she will become ever more confident and commanding."
Michael Reynolds, Musical Criticism, 23 May 2014
"Royal is restrained rather than voluptuous in the role, but she is poised, accurate and always a rewarding performer."
Fiona Maddocks, The Observer, 25th May 2014
"Kate Royal’s Marschallin unites fabulous beauty, dignity and elegant singing to provide a characterization at once admirable and affecting; she could not fail to bring tears to the most curmudgeonly of eyes at ‘Euer Liebden Kavalier vorfahren…’"
Melanie Eskenazi, Music OMH, 25 May 2014
"Kate Royal’s Marschallin is magnificent. A quiet stillness and the depth of emotion in her voice lend her a remarkable stage presence and create a huge musical impact."
Howard Shepherdson, Limelight, 26 May 2014

A Lesson in Love - a story through Song - Recital / April 2012

Alte Oper Frankfurt

"Ihre Interpretation hat die Essenz aus den Liedern gelockt. Sehr eindrücklich war, wie Royal am Anfang als Neugierige, Freudig-Naive das Lied "Waitin" von William Bolcom sang, und wie sie es am Schluss noch einmal sang: schmerzlich, gezeichnet von der Liebes- und Verlusterfahrung." Martha Schmidt, 13. April 2013
"Mit virtuoser Leichtigkeit gelingt Kate Royal und ihrem Begleiter Malcolm Martineau das Kunststück, die in Stil und Ton höchst unterschiedlichen Miniaturen klanglich zu entfalten und ihren intensiven Gefühlswerten Ausdruck zu verleihen. Dabei steht die klangschöne, höhensichere und modulationsreiche Stimme der Sängerin stets im Dienst der Werke. Die hohe Artikulationskunst, in der sie sehr unterschiedliche Texte geschmeidig mit ihrem Gesang verbindet, macht aus ihrem Vortrag ein dramatisches Geschehen." Eche Feuilleton, Rotraut Fischer, 13. April 2012
"Bolcoms "Waitin" aus seinen "Carbaret Songs" hatte auch den Abend eröffnet: eine zarte, etwas sentimentale Eloge des Wartens, für die sich Kate Royals runder, sublim artikulierender Sopran besonders gut eignet. Alles, was in einer gleitenden, gefassten und ruhigen Art sich klanglich entwickelt, wie etwa in Henri Duparcs "Extase", schien wie geschaffen für Royals Intonation. Der Satz "Auf einer blassen Lilie schläft mein Herz" konnte als verbale Marke dieses Stimmcharakters gelten. 
Ohne Registerbruch wurden aber auch heftige Bewegungszüge leichthändig bewältigt im Verein mit treffenden mimischen Korrespondenzen, denen das höchst aufmerksame Klavierspiel Malcolm Martineaus wie angegossen war." Frankfurter Rundschau, 12 April 2012, Bernard Ukse
"Dass sich Lieder wie Claude Debussys "Erscheinung" ("Apparition") und Hugo Wolfs "O wär' ich Dein Haus" bruchlos aneinanderfügten, war der großen stilistischen Flexibilität und der starken Wandlungsfähigkeit zu verdanken. [...] Kate Royals exakte Diktion, ihr feines, sauberes Legato prägten Lieder von Ravel, Fauve und Duparc. Kokett-pointiert sang sie vom Verrat in Schuberts "Die Männer sind méchant", noch im Fahlen farbig bei Jean Sibelius: "Wär es ein Traum?" Die Spannung ließ keinen Augenblick nach." Offenbach Post, 12 April 2012
"Sie sprühte [...] voller positiver Energie und wirkte in der Tat wie ein verliebtes junges Mädchen, das seine Gefühle nur schwer unter Kontrolle halten kann, weil alles nach draußen drängt. So gab es manches Highlight zu erleben, allen voran Claude Debussys "Apparition" und Aaron Coplands "Pastorale". [...] Wobei sie sämtliche Lieder ohne vor sich liegendes Notenmaterial vortrug und nonstop von einem zum nächsten lied wechselte. Dieses schnelle Wechseln zwischen den Stimmungen, zwischen intimen, tief im Innern berührenden Liedern (wie das zu Beginn und Ende stehende "Waiting" von William Bolcom oder Maurice Ravels "Chanson de la mariée") und ariosen Liedern mit nahezu dramatischen Ausbrüchen (wie "Hugo Wolfs "Erstes Liebeslied eines Mädchens" und Amy Beachs "Ah, Love, but a day!"), muss man ihr in dieser Form erst einmal nachmachen. Ihr heiteres Talent zeigte sie bei dem mit charmantem Witz vorgetragenen "Tchut, tchut" von Joseph Chanteloube. [...] esonders berührend gestaltete sie vom Gesanglichen und vom Ausdruck her Schuberts "Du liebst mich nicht", aber auch Reynaldo Hahns "Infidélté" und Aaron Coplands "Heart, we will forget him!".  Kulturfreak.de, Markus Gründig, 10 April 2012

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