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Kate Lindsey

  • Mezzo-Soprano


Kate Lindsey press reviews

11.19.08 | New York Festival of Song -- Fugitives
"The poignant ache of numerous songs accumulated throughout, abetted by the strong, stylish singing. Ms. Lindsey in particular dipped into surprising reserves of power and expressiveness. In sum, the concert was an unqualified success; I can recall many Festival of Song programs as illuminating and entertaining, but none so profoundly moving."

Steve Smith, The New York Times

"Throughout, Lindsey displayed admirable technique and a dark, lucid tone evocative of moonlit water. No matter what genre she was singing, her interpretations managed to appear both well thought out and spontaneous -- basically, the theatrical ideal."

Ronnie Reich, Washington Post

"Blier is describing a journey these men made, and the performances by two extraordinary singers, mezzo-soprano Kate Lindsey and tenor Joseph Kaiser, are so moving it is as if we make the journey with them."

"In some ways the most dramatic moment of the evening was a song Weill wrote for Voice of America to be broadcast into Germany in 1943. The text, by Walter Mehring, is the plea of a woman who fell in love too heedlessly and longs for the day she can rid herself of a cruel and faithless lover, a clear analogy with Germany and the man it once idolized, Hitler. Lindsey sang it with shattering force.

Howard Kissell, The New York Daily News

08.24.08 | Mostly Mozart Festival -- Mozart's Mass in C Minor
"Among a quartet of promising soloists, the strongest impression was that made by Kate Lindsey, a striking young mezzo-soprano who sang with a clear, appealing sound and impressive agility. Were it permissible to applaud after her remarkable account of the “Laudamus Te,” in which Mozart leaves behind Baroque imitation for full-blown operatic display, I would not have tried to resist the urge."

Steve Smith, The New York Times

07.26.08 | Tanglewood Music Festival -- Elliott Carter's "In the Distances of Sleep"
"Of the vocal scores performed later in the festival, the most compelling was “In the Distances of Sleep” (2006), six refined and at times movingly dramatized Wallace Stevens settings, heard in a ravishing performance by the mezzo-soprano Kate Lindsey on Tuesday. Ms. Lindsey’s velvety tone and an intuitively supple phrasing took these pieces straight to the heart. It was a performance likely to have disarmed anyone who still regarded Mr. Carter’s writing as harsh or impenetrable."

Allan Kozinn, The New York Times

"One relatively new and gorgeous vocal work was "In the Distances of Sleep," a 2006 setting of Wallace Stevens poetry, cogently led on Tuesday by Jeffrey Milarsky and given a knockout performance by Kate Lindsey, a young mezzo-soprano with a very bright future. The third poem, "Re-Statement of Romance," drew from Carter the most tender and beautiful music of the week, with its quiet string lines cradling Lindsey's luminous voice."

Jeremy Eichler, The Boston Globe

06.12.08 | Ojai Music Festival -- Pergolesi "Stabat Mater"
Dawn Upshaw and a gorgeously deep young mezzo-soprano, Kate Lindsey, were the ingratiating soloists in the Pergolesi.

"Kate Lindsey is a real find - her Cherubino looked like an adolescent boy, a very pretty one to be sure, but with and arrogant chin and a "street" sort of strut that made this cocksure kid a credible threat to the older males. She sang gloriously too."

John Yohalem, Opera Today

"Cherubino was portrayed winningly by the vocally rich and dynamic mezzo soprano Kate Lindsey."

Anthony Tommasini, The New York Times

07.29.07 | LAZULI -- L'ETOILE
In the trouser role of Lazuli, the peddler who wishes upon a star and promptly lands in all sorts of complications, Kate Lindsey commanded the stage with her ripe mezzo tone and irresistible nuances of phrasing. The mezzo's costume suggested a young Charlie Chaplin; so did the way she moved and mugged, bringing out the sense of naïve innocence and romantic yearning in the character. Her fine comic timing was especially delicious in Lazuli's tipsy aria in Act II and his sneezing aria in Act III; Lindsey managed to make each sound and gesture as funny musically as it was physically.

Tim Smith, Opera News, November 2008

"In a pants role as the impoverished peddler Lazuli, Kate Lindsey sang with agility from a crystalline coloratura down to a resonant mezzo and back again, all the while cavorting up and down ladders and even swinging on a trapeze."

Cecelia Porter, The Washington Post

"In the juicy trouser role of Lazuli, mezzo Kate Lindsey is a comic delight. Showing off her considerable skill at slapstick comedy, Miss Lindsey also gets to sing some of the opera's best music. She doesn't waste the opportunity to unveil a well-supported instrument with considerable range and plummy low notes."

Washington Times

"Copley's cast performed like a fleet band of acrobats, delicate and deft in movement, all the while courting danger at every turn. Nowhere was this more apparent than in Kate Lindsey's adorable Cherubino. Like her castmates, Lindsey has the gift of making everything seem natural, never contrived. Her take on "Voi che sapete" was irresistible. This is Cherubino's chance to declare formally his longing for the Countess, and Lindsey played it like a kid at his first recital, pent up and jittery. Keeping hormones in check (unlike her earlier reading of "Non so più, cosa son," which pulsed with pubescent heat), Lindsey began carefully, stiffly, not wanting to muck anything up. And just as it often happens, she found her nerve and confidence as her performance progressed; by the end of the aria, Lindsey was nibbling at the Countess's hand. If her acting wasn't enough, there were Lindsey's creamy, light tone and superb dynamic control; her handling of appoggiaturas was delicious."

Wayman Chin, Opera News July 2007

"...But it's Kate Lindsey's turn as Cherubino that nearly steals the show. Swaggering across the stage with the gate of a sexually charged late-stage adolescent whose libido consistently causes him to make all the wrong choices, Lindsey makes all the right moves with impeccable comic timing and stunning vocals."

Nick Dussault, The Metro

"...But Lindsey stole the show in the first two acts with her portrayal of Cherubino: you have to see a woman playing a man who then dresses as a woman to fully understand the humor in 'Figaro'. "

Keith Powers, The Boston Herald

"Mezzo soprano Kate Lindsey (Cherubino) is a delight, too, her strong voice the perfect companion to the slapstick comedy she brings to the role of the young army officer in love with being in love."

John Black, Boston Now

"The real revelation of the evening was mezzo Kate Lindsey, who, only three years out of Indiana University (and already a Met veteran), exhibits a thrilling voice - plummy in her lower range, iridescent toward the top. Her technical facility is deliciously enhanced by her willingness to go all out emotively. In Rossini's "Una voce poco fa" Lindsey segued from polished flirtatiousness to a fishwify outbreak of irritation. Her "Voi, che sapete" was so expressive, you'd scarely need to know the text - though her diction is exquisite."

Sandy MacDonald, The EDGE Boston

"Kate Lindsey was winsome, dispatching Rossini's mezzo soprano classic 'Una voce poco fa' with aplomb"

Christina Linklater, The Boston Globe

"Mezzo soprano Kate Lindsey's effortlessly pure vocals brought liveliness to the atmosphere."

James A Lopata,

"Back to Barber's many strong points: Mezzo soprano Kate Lindsey was outstanding at the opening Saturday as Rosina. Hers is a dark, rich voice, well-produced through a wide range, with clean coloratura. She moves and acts well."

Sarah Bryan Miller, St. Louis Post-Dispatch

"Mezzo Kate Lindsey, who was such a compelling Mercedes in Carmen two years ago, is a completely captivating Rosina here. She sings beautifully and is convincingly sexy - an essential point if we're going to understand why Bartolo and Almaviva find her so alluring."

Chuck Lavizzi, KDHX Theatre Review

"The best of many good performances in this 'Cenerentola' was that of Kate Lindsey, a spectacularly talented mezzo soprano, in the title role. From the early 'Una volta c'era un re' to the final 'Non piu mesta,' Rossini made constant demands in this role, and she fulfilled them splendidly with a charming stage presence and a voice that was precise, agile and expressive throughout its wide range"

Joseph McLellan, The Washington Post

"As Cinderella-Angelina, young mezzo soprano Kate Lindsey, who originally hails from Richmond, was outstanding. Playing a feistier-than-usual protagonist, she negotiated Rossini's vicious vocal arabesques flawlessly - particularly in her signature final aria - with high notes that sparkled like silver bells and low ones that seemed to cross over into baritone territory. She is clearly a talent to watch."

T.L. Ponick, The Washington Times

"Kate Lindsey sang splendidly and avoided cliche as the page Stephano"

Judith Malafronte, Opera News, Oct. '05 Issue

"Kate Lindsey, who gave us a sultry Mercedes in last year's staging of Carmen, applies her elegantly burnished mezzo soprano to a transgender casting as Stephano, Romeo's male page, aided by a whopper of a codpiece."

Lew Prince, Riverfront Times