The Kennedy Center

Kathryn Lewek


Soprano Kathryn Lewek has established herself as one of opera’s strongest coloratura sopranos of this generation and is now expanding her resume with some of the most vocally challenging roles in the soprano repertoire.
Last summer, Lewek “perform[ed] a miracle” and was “especially brilliant” in her role début as Ginevra in Ariodante with Salzburger Pfingstfestspiele in Austria, opposite Cecilia Bartoli. Critics exclaimed: “the intonation was unbreakable, the legato and the alternation of the register, the uniquely shimmering yet firm quality, the intensity of the melting of the sound, such charming grace” (Salzburger Nachrichten), “Such a rich (and richly differentiated) soprano voice has not been experienced for a long time” (Salzburger Nachrichten), “Kathryn Lewek brings to light all facets of stupendous virtuosity. The loneliness, turmoil, and modern ego-lostness that she has to put into the three arias of the last tragic scene before the happy ending moved to tears” (Dreh Punkt Kultur), and “The dynamic and emotional range that Lewek was able to generate took your breath away, so you could have heard a pin drop during her scene” (Bachtrack).
Also last summer she reprised her signature role as Queen of the Night in Die Zauberflöte with The Deutsche Oper Berlin, and performed the Queen of the Night aria as one of the ten pieces in “Sir Henry’s Magnificent Musical Inspirations” concert with the Royal Philharmonic Orchestra at BBC Proms Classical Music Festival. This season, she reprises her role as the reigning Queen of the Night with The Metropolitan Opera, Festival d'Aix-en-Provence, Festival Castell de Peralada, Pacific Symphony, and Indianapolis Symphony.
In concert, Lewek performed the soprano solo in Händel’s Messiah with Music Sacra and Oratorio Society of New York, sang at Galas for The Opera Foundation and Toledo Opera, returns to Washington National Opera for their 2018 Opera Gala Concert: Celebrating Leonard Bernstein at 100, and performed in recital with Rockefeller university and Messiah College. Upcoming seasons include her sixth season at The Metropolitan Opera as Queen of the Night in Die Zauberflöte, a reprisal of her performance as Ginevra in Ariodante with Opera Monte Carlo, and a return to Salzburg Festival to play Erydice in their production of Orphee aux Enfers. Future seasons also include returns to Washington National Opera and The Metropolitan Opera in multiple roles.
With an impressive history of leading female roles in her career, recent seasons’ engagements have also included role débuts as Teresa in Benvenuto Cellini with Gran Teatre del Liceu in Barcelona; Konstanze in Die Entführung aus dem Serail with Deutsche Oper Berlin; the title role of Maria Stuarda with Edmonton Opera; and Rosina in Il barbiere di Siviglia and the title role in Lucia di Lammermoor with Toledo Opera and Opera Carolina.
Other notable roles include Angelica in Händel’s Orlando with The Hobart Baroque in Tasmania, for which she won a Helpmann Award; La Fée in Cendrillon with New Orleans Opera; and Cunegonde in Francesca Zambello’s Candide in her company début with The Glimmerglass Festival. European débuts also include the role of Jessica in the world première of André Tchaikowsky’s Kupiec Wenecki (The Merchant of Venice) with Bregenzer Festspiele. This production was awarded the International Opera Award 2014 in the category “Best World Première”.