Catherine Wyn-Rogers

Catherine Wyn-Rogers

Mezzo-soprano
Bio: CATHERINE WYN-ROGERS Mezzo-Soprano 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, David Zinman, Peter Oundjian, Edward Gardner and Zubin Mehta. Her numerous recordings include Dream of Gerontius with Daniel Barenboim, 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 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, David Zinman, Peter Oundjian, Edward Gardner and Zubin Mehta. Her numerous recordings include Dream of Gerontius with Daniel Barenboim, 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, appeared at the Lyric Opera of Chicago as Sosostris The Midsummer Marriage, and made her debut for the Teatro alla Scala as Mrs Sedley Peter Grimes. For English National Opera she has appeared in Madama Butterfly, War and Peace, La Gioconda, The Handmaid’s Tale, The Rape of Lucretia and Deborah Warner’s productions of the St. John Passion and Messiah. She has had a close relationship with the Royal Opera House, Covent Garden, where roles have included First Norn Götterdämmerung, Erda Das Rheingold and Siegfried, Magdalene Die Meistersinger von Nürnberg, Cornelia Giulio Cesare, Sosostris The Midsummer Marriage, Genevieve Pelleas et Melisande and Auntie Peter Grimes. Catherine has been a regular guest of the Bavarian State Opera, Munich, singing Sosostris, Adelaide Arabella, First Norn, Genevieve, Cornelia Giulio Cesare, Amastra Xerxes, Hexe Königskinder, Erda Das Rheingold and Widow Zimmerlein Die Schweigsame Frau. She has also worked with Scottish Opera, Welsh National Opera, Opera North, Semper Oper, Dresden, Teatro Real Madrid, Netherlands Opera, Houston Grand Opera and Salzburg Festival. She sang her first Marcellina Le nozze di Figaro for the Verbier Festival conducted by Paul McCreesh, Mrs Sedley in the Aldeburgh Festival production of Peter Grimes that was staged on the beach, Bianca Rape of Lucretia for Glyndebourne Festival and Moses und Aron in her debut at the Opera National de Paris. She made her debut with the Metropolitan Opera as Adelaide in Arabella. Recent highlights include the Dream of Gerontius in Berlin with Barenboim, Frank Martin’s Le vin herbe for Welsh National Opera, and Mrs Sedley at the Edinburgh Festival (Edward Gardner). Concert engagements this season include Semele in London and Vienna with Ivor Bolton, Sea Pictures with the BBC National Orchestra of Wales under (Tadaaki Otaka), and Das Lied von der Erde with the Melbourne Symphony Orchestra (Sir Andrew Davis). For the most up-to-date biography, please contact us. This biography should not be edited without permission from Askonas Holt. JONATHAN TURNBULL / SEPTEMBER 2017
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Bio: CATHERINE WYN-ROGERS Mezzo-Soprano 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, David Zinman, Peter Oundjian, Edward Gardner and Zubin Mehta. Her numerous recordings include Dream of Gerontius with Daniel Barenboim, 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 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, David Zinman, Peter Oundjian, Edward Gardner and Zubin Mehta. Her numerous recordings include Dream of Gerontius with Daniel Barenboim, 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, appeared at the Lyric Opera of Chicago as Sosostris The Midsummer Marriage, and made her debut for the Teatro alla Scala as Mrs Sedley Peter Grimes. For English National Opera she has appeared in Madama Butterfly, War and Peace, La Gioconda, The Handmaid’s Tale, The Rape of Lucretia and Deborah Warner’s productions of the St. John Passion and Messiah. She has had a close relationship with the Royal Opera House, Covent Garden, where roles have included First Norn Götterdämmerung, Erda Das Rheingold and Siegfried, Magdalene Die Meistersinger von Nürnberg, Cornelia Giulio Cesare, Sosostris The Midsummer Marriage, Genevieve Pelleas et Melisande and Auntie Peter Grimes. Catherine has been a regular guest of the Bavarian State Opera, Munich, singing Sosostris, Adelaide Arabella, First Norn, Genevieve, Cornelia Giulio Cesare, Amastra Xerxes, Hexe Königskinder, Erda Das Rheingold and Widow Zimmerlein Die Schweigsame Frau. She has also worked with Scottish Opera, Welsh National Opera, Opera North, Semper Oper, Dresden, Teatro Real Madrid, Netherlands Opera, Houston Grand Opera and Salzburg Festival. She sang her first Marcellina Le nozze di Figaro for the Verbier Festival conducted by Paul McCreesh, Mrs Sedley in the Aldeburgh Festival production of Peter Grimes that was staged on the beach, Bianca Rape of Lucretia for Glyndebourne Festival and Moses und Aron in her debut at the Opera National de Paris. She made her debut with the Metropolitan Opera as Adelaide in Arabella. Recent highlights include the Dream of Gerontius in Berlin with Barenboim, Frank Martin’s Le vin herbe for Welsh National Opera, and Mrs Sedley at the Edinburgh Festival (Edward Gardner). Concert engagements this season include Semele in London and Vienna with Ivor Bolton, Sea Pictures with the BBC National Orchestra of Wales under (Tadaaki Otaka), and Das Lied von der Erde with the Melbourne Symphony Orchestra (Sir Andrew Davis). For the most up-to-date biography, please contact us. This biography should not be edited without permission from Askonas Holt. JONATHAN TURNBULL / SEPTEMBER 2017
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Catherine Wyn-Rogers
Catherine Wyn-Rogers
Mezzo-soprano
Full name: Catherine Wyn-Rogers

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

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