Katharine Goeldner’s most recent and future operatic projects include ANNINA Der Rosenkavalier Metropolitan Opera, DALILA Samson et Dalila Opera Colorado, GENEVIÈVE Pelléas et Mélisande Dallas Opera, LARINA Eugene Onegin Opera Santa Fe, HERODIAS Salome Tulsa Opera, IRIS Tobias Picker’s Awakenings Opera Theatre of Saint Louis and RUTH The Pirates of Penzance Atlanta Opera.
Most recent operatic engagements include BRIGITTA Die Tote Stadt Théâtre du Capitole, Toulouse, FRICKA Die Walküre Theater Augsburg, MARCELLINA Le nozze di Figaro Lyric Opera of Chicago, MA JOAD The Grapes of Wrath Opera Theatre St. Louis and Michigan Opera Theatre, FRICKA Das Rheingold Minnesota Opera, Carmen (title role) Savonlinna Festival, MARCELLINA Netherlands Opera, LARINA Eugene Onegin Lyric Opera of Chicago and Hawaii Opera Theatre, DELILAH Samson and Delilah Virginia Opera, JACKIE ONASSIS JFK Fort Worth Opera and Opéra de Montreal, THURZA Dame Ethel Smyth’s The Wreckers Bard Festival, BRANGÄNE Tristan und Isolde Landestheater Salzburg, MARCELLINA Le Nozze di Figaro The Nethlerlands Opera, GIOVANNA SEYMOUR Anna Bolena Welsh National Opera, MRS. GROSE The Turn of the Screw Opéra de Lyon, GERTRUDE Hamlet Minnesota Opera, GIOVANNA SEYMOUR Anna Bolena and GERTRUDE (cover) Hamlet Metropolitan Opera, Carmen (title role), PEGGY in the world premiere of Jack Perla and Rajiv Joseph’s Shalimar the Clown Opera Theatre St. Louis, MARCELLINA Le Nozze di Figaro and PITTI-SING The Mikado Lyric Opera of Chicago, DIDON (cover) Les Troyens Royal Opera House Covent Garden, KOMPONIST Ariadne auf Naxos Opera de Oviedo, SANTUZZA Cavalleria rusticana Cedar Rapids Opera Theatre, AMNERIS Aida Utah Opera, ORFEO Arizona Opera, GESCHWITZ Lulu Oper Graz and HERODIAS Salome Virginia Opera.
Most recent concert engagements include Mahler’s Das Lied von der Erde The Royal Ballet, Covent Garden and The Koch Theatre, NYC, Beethoven Symphony No. 9 Fondazione Arturo Toscanini, Bruckner’s Te Deum Oxford Philomusica, a recording of Louis Spohr’s Die Letzten Dinge Mozarteum Orchestra (Ivor Bolton), Wagner’s Wesendonck Lieder Salzburg Orchester Solisten, Mahler’s Das Lied von der Erde The Royal Ballet, Duruflé Requiem Spoleto Festival USA and ERIKA Vanessa Radio-Symphonieorchester Wien.
Additional noted performances include SUZUKI Madama Butterfly Lyric Opera of Chicago and Florida Grand Opera, RUGGIERO Alcina and CARMEN New York City Opera, DORABELLA Così fan tutte Santa Fe Opera, FENENA Nabucco Dallas, Bilbao, Antwerp and Ghent, PRINCE ORLOFSKY Die Fledermaus Metropolitan Opera and in Japan, KOMPONIST Ariadne auf Naxos Madrid, Salzburg, Toulouse, Lyon and Théâtre du Châtelet, OCTAVIAN Der Rosenkavalier Toulouse, Lyon and Seville, FRICKA Das Rheingold, WALTRAUTE Götterdämmerung and GESCHWITZ in Toulouse, CHARLOTTE Werther Bilbao, NICKLAUSSE Les Contes d’Hoffmann Metropolitan Opera and Bilbao and HIPPOLYTA A Midsummer Night’s Dream Dresden.
Conductors she has worked with include Sir Andrew Davis, Edo de Waart, Lothar Zagrosek, Ivor Bolton, Seiji Ozawa, Sir Charles Mackerras, Hans Graf, Dennis Russel Davies, Ulf Schirmer, Michael Schønwandt, Jésus Lopez-Cobos, Adam Fischer, Marek Janowski, George Manahan, Bertrand de Billy and Georges Prêtre
Katharine Goeldner studied voice at the University of Iowa and at the Mozarteum Salzburg.
Emma Ventris
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Email: emma@atholestill.co.uk
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News | Katharine Goeldner
News | Katharine Goeldner, Clare Presland, Julian Hubbard
"Katharine Goeldner enthralled us with her expressive mezzo-soprano and her masterful interpretation of Brangäne. With her performance this evening, the doors of all the great opera houses of the world should be open to her."
Der neue Merker,
"More richly and evenly endowed from a vocal point of view, Katharine Goeldner demonstrated why Henry VIII, had he been judging on voice alone, might have preferred Giovanna Seymour to Anna Bolena; the American mezzo sailed through much of her music with strong and luminous tone."
Opera News
"Katharine Goeldner, as Carmen, is herself singing more and more at the Met, and with reason: she has a fine, firm voice and knows how to wield it."
The New York Times