Kate Lindsey Mezzo Soprano

11.12.07 | CHERUBINO -- METROPOLITAN OPERA
"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

07.01.07 | CHERUBINO -- BOSTON LYRIC OPERA
"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

09.20.06 | BOSTON LYRIC OPERA 30th ANNIVERSARY GALA CONCERT
"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, InNewsWeekly.com

05.26.06 | ROSINA -- OPERA THEATRE OF ST. LOUIS
"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

08.24.05 | LA CENERENTOLA -- WOLF TRAP OPERA
"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

06.04.05 | STEPHANO -- OPERA THEATER OF ST. LOUIS
"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