Mezzo-Soprano

Catherine Wyn-Rogers

Credit: Paul Foster-Williams

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 Bayerische Staatsoper, 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. Recent highlights include The Dream of Gerontius with the Staatskapelle Berlin(Daniel Barenboim), which was released on CD by Decca, 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). Forthcoming engagements include Enescu’s Oedipe with the Dutch National Opera, Auntie Peter Grimes with the Teatro Real Madrid and a return to the Royal Opera House, Covent Garden.


Contact



Performance Schedule

 
  • 20:00 18 Dec 2018 Dutch National Opera, AMSTERDAM More info  

    GEORGE ENESCU Oedipe

    Conductor: Marc Albrecht
    Director: Alex Ollé
    Oedipe: Johan Reuter
    Tiresias: Eric Halfvarson
    Creon: Christopher Purves
    Shepherd: Alan Oke
    Le Grand-Prêtre: François Lis
    Phorbus: James Creswell
    Le Veilleur: Ante Jerkunica
    Thésée: André Morsch
    Laios: Mark Omvlee
    Jocaste: Sophie Koch
    La Sphinge: Violeta Urmana
    Antigone: Heidi Stober
    Mérope: Catherine Wyn-Rogers

  • 20:00 21 Dec 2018 Dutch National Opera, AMSTERDAM More info  

    GEORGE ENESCU Oedipe

    Conductor: Marc Albrecht
    Director: Alex Ollé
    Oedipe: Johan Reuter
    Tiresias: Eric Halfvarson
    Creon: Christopher Purves
    Shepherd: Alan Oke
    Le Grand-Prêtre: François Lis
    Phorbus: James Creswell
    Le Veilleur: Ante Jerkunica
    Thésée: André Morsch
    Laios: Mark Omvlee
    Jocaste: Sophie Koch
    La Sphinge: Violeta Urmana
    Antigone: Heidi Stober
    Mérope: Catherine Wyn-Rogers

  • 14:00 25 Dec 2018 Dutch National Opera, AMSTERDAM More info  

    GEORGE ENESCU Oedipe

    Conductor: Marc Albrecht
    Director: Alex Ollé
    Oedipe: Johan Reuter
    Tiresias: Eric Halfvarson
    Creon: Christopher Purves
    Shepherd: Alan Oke
    Le Grand-Prêtre: François Lis
    Phorbus: James Creswell
    Le Veilleur: Ante Jerkunica
    Thésée: André Morsch
    Laios: Mark Omvlee
    Jocaste: Sophie Koch
    La Sphinge: Violeta Urmana
    Antigone: Heidi Stober
    Mérope: Catherine Wyn-Rogers

From The Green Room

Online Performances

 

Discography

  • More info  
    Elgar: The Dream of Gerontius

    Label: Decca

    Release Date: 07 Jul 17

    EDWARD ELGAR
    The Dream of Gerontius
    Thomas Hampson · Andrew Staples
    Catherine Wyn Rogers
    RIAS Kammerchor · Staatsopernchor Berlin
    Staatskapelle Dresden
    Daniel Barenboim

  • More info  
    Peter Grimes

    Label: Signum Classics

    Release Date: 01 Aug 13

    Production staged on Aldeburgh beach, Aldeburgh Festival 2013

    Conductor: Steuart Bedford

    Peter Grimes: Alan Oke
    Ellen Orford: Giselle Allen
    Captain Balstrode: David Kempster
    Auntie: Gaynor Keeble
    First Niece: Alexandra Hutton
    Second Niece: Charmian Bedford
    Bob Boles: Robert Murray
    Swallow: Henry Waddington
    Mrs Sedley: Catherine Wyn-Rogers

    Chorus of Opera North
    Chorus of Guildhall School of Music & Drama
    Britten–Pears Orchestra

  • More info  
    The Turn of the Screw

    Label: LSO Live

    Release Date: 01 Nov 13

    Conductor:Richard Farnes
    London Symphony Orchestra

  • More info  
    Michael Head: Songs

    Label: Hyperion Records

    Release Date: 01 Jan 12

    Piano: Christopher Glynn

  • More info  
    BEETHOVEN Symphony No. 9

    Label: Hyperion

    Release Date: 01 Sep 07

    Complete Beethoven Symphonies: 5 CD Box Set

    Sir Charles Mackerras

    Soprano: Janice Watson
    Mezzo-soprano: Catherine Wyn-Rogers
    Tenor: Stuart Skelton
    Bass: Detlef Roth

    Philharmonia Orchestra
    Edinburgh Festival Chorus

  • More info  
    Bantock: Omar Khayyam

    Label: Chandos Records

    Release Date: 01 Aug 07

    Conductor: Vernon Handley
    BBC Symphony Orchestra

  • More info  
    Van Dieren 'Chinese Symphony'

    Label: Lyrita

    Release Date: 23 Jan 17

    Conductor: William Boughton

    Soprano: Rebecca Evan
    Mezzo-Soprano: Catherine Wyn-Rogers
    Tenor: Nathan Vale
    Baritone: Morgan Pearse
    Bass: David Soar

    BBC National Orchestra and Chorus of Wales

  • More info  
    18 Oct 17 Handel: Semele Orchestra of the Age of Enlightenment, Christophe Rousset
    Royal Festival Hall

    Catherine Wyn-Rogers – always a larger-than-life presence – galvanised the evening with G&S gusto as the implacable Juno.
    Michael Church, Independent

    Indeed, one senses there’s little that Catherine Wyn-Rogers wouldn’t square up to, which is why she was so well cast as the formidable, furiously jealous Juno.
    Hannah Nepil, Financial Times

    The soloists’ performances were highly dynamic and none more so than that of Catherine Wyn Rogers, whose mezzo-soprano was particularly suited to capturing the strength of purpose, rage, confidence and sheer sense of expectancy that are to be found in Juno. She swooped on for her first entrance, practically slamming her music down on the stand (scores were used but no-one was glued to them), and with her astutely observed portrayal she raised the energy level every time that she appeared.
    Sam Smith, MuisicOMH

  • More info  
    07 Jul 17 Elgar: The Dream of Gerontius Berliner Staaskapelle, Daniel Barenboim
    Philharmonie Berlin

    Tonight she brought to the performance all that experience in a reading that was highly communicative and finely nuanced. Miss Wyn-Rogers understands the role completely. Her delivery of ‘A presage falls upon thee’ was wonderfully expressive. A little later, at ‘Yes, for one moment thou shalt see thy Lord’ there was great inwardness to her singing. Best of all was her singing in the celebrated Angel’s Farewell. The orchestral introduction to this closing section was exquisitely moulded by Barenboim and his orchestra. Thus encouraged, Catherine Wyn-Rogers sang the solo with warmth, tenderness and eloquence.
    John Quinn, Seen and Heard International

    Catherine Wyn-Rogers, particularly affecting in a long-breathed Farewell that may have taxed a less opulent mezzo; her Angel has a maternal warmth reminiscent of the great interpreters of the mid-twentieth century.
    Presto Classical

    Catherine Wyn-Rogers is, of course, a very experienced pair of hands, having grown to inhabit the role of the Angel over many years. She sings with great feeling and intensity and an always vivid response to text… and, through many a beauteously soft phrase and conversely some chilling chest tones as we draw nearer the Judgement Hall, she really brings the role off the page.
    Edward Seckerson, Gramophone Magazine

    Catherine Wyn-Rogers saving a stunning top note for her last “alleluia”
    Richard Morrison, The Times

  • More info  
    29 Jun 17 MAHLER 'Das Lied von der Erde'
    Hamer Hall, Melbourne

    “Equally Wyn-Rogers wrapped us in her voice and we were pulled willingly along to the famously intense and unsettling Farewell.”

    Andrea Gillum, ArtsHub, 4 July 2017

  • More info  
    16 Feb 17 MARTIN 'Le vin herbé' Welsh National Opera
    Wales Millennium Centre, Cardiff

    “Iseult’s mother, performed with aplomb by Catherine Wyn-Rogers”
    Kate Kellaway, The Observer, 19 February 2017

    “Catherine Wyn-Rogers was authoritative as Iseult’s mother”
    Mark Pullinger, Bachtrack, 22 March 2017

  • More info  
    01 Jun 16 SCHOENBERG 'Moses und Aron'
    Teatro Real, Madrid

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

  • More info  
    12 Jan 16 TCHAIKOVSKY 'Eugene Onegin'
    Royal Opera House, Covent Garden

    “Diana Montague and Catherine Wyn-Rogers are luxury casting as Madame Larina and Filipyevna respectively”
    Sam Smith, Musicomh.com

    “Catherine Wyn-Rogers played the nurse Filipyevna affectingly straight”
    Richard Batby, The Spectator

    “Catherine Wyn Rogers as Filipyevna shone, as last time.”
    Mark Berry, Seen and Heard

  • More info  
    13 Aug 15 STRAVINSKY 'The Rake's Progress' Scottish Chamber Orchestra
    Usher Hall, Edinburgh

    “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

  • More info  
    22 Jul 15 BRITTEN 'The Rape of Lucretia'
    Glyndebourne Festival Opera

    “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

  • More info  
    29 Apr 15 MAHLER Symphony No. 2 Royal Liverpool Philharmonic Orchestra
    Philharmonic Hall, Liverpool

    “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

  • More info  
    10 Nov 14 MAHLER Symphony No. 2 Melbourne Symphony Orchestra
    Hamer Hall, Melbourne

    “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

  • More info  
    27 Jul 14 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

  • More info  
    07 Jul 17 Elgar: Dream of Gerontius Berlin Staatskapelle, Daniel Barenboim
    Berlin

    Catherine Wyn-Rogers is, of course, a very experienced pair of hands, having grown to inhabit the role of the Angel over many years. She sings with great feeling and intensity and an always vivid response to text… [and] through many a beauteously soft phrase and conversely some chilling chest tones as we draw nearer the Judgement Hall, she really brings the role off the page.
    Edward Seckerson, Grmophone Magazine

    Catherine Wyn-Rogers saving a stunning top note for her last “alleluia”
    Richard Morrison, The Times

    Tonight she brought to the performance all that experience in a reading that was highly communicative and finely nuanced. Miss Wyn-Rogers understands the role completely. Her delivery of ‘A presage falls upon thee’ was wonderfully expressive. A little later, at ‘Yes, for one moment thou shalt see thy Lord’ there was great inwardness to her singing. Best of all was her singing in the celebrated Angel’s Farewell. The orchestral introduction to this closing section was exquisitely moulded by Barenboim and his orchestra. Thus encouraged, Catherine Wyn-Rogers sang the solo with warmth, tenderness and eloquence.
    John Quinn, Seen and Heard Internationa

    Miss Wyn-Rogers brings great maturity and sensitivity to her interpretation. The sound of the voice itself gives great pleasure and in terms of role assumption… she brings great feeling and many subtle nuances to the music… [and] she sings ‘A presage falls upon thee’ radiantly, the music generously phrased by Barenboim… I’ve enjoyed hearing her sing many times both live and on disc but I don’t think I’ve heard her do anything better than this committed and eloquent performance.
    Len Mullenger, MusicWeb

    Catherine Wyn-Rogers, particularly affecting in a long-breathed Farewell that may have taxed a less opulent mezzo; her Angel has a maternal warmth reminiscent of the great interpreters of the mid-twentieth century.
    Presto Classical

Repertoire

Please contact Jonathan Turnbull for the most recent repertoire list.