The Tales of Hoffmann

Los Angeles Opera, 2017


Kate Lindsey has sung The Muse/Nicklausse all over the world but last night she outdid herself. Not only was her character the voice of reason, she did an imitation of Olympia that had the audience laughing out loud. Lindsey is a subtle artist but there is deep thought behind her characterizations.

Maria Nockin, Opera Today


A new star couple has emerged at LA Opera...  The hot couple Saturday night was Grigolo and mezzo-soprano Kate Lindsey. Lindsey proved a flesh-and-blood guardian angel whose eloquence of expression elevated all around her and, thankfully, when elevation was needed the most. She also could be very funny, and again thankfully, only when needed.

Mark Swed, LA Times


A brilliant singer, a fine actress whose role hovers between tragedy and comedy, Lindsey elevates the entire production.

Marc Haefele, Off Ramp


Although her character was written as a sidekick to Hoffmann, Lindsey often took center stage, her convincing physicality as a man aided by her rich mezzo-soprano. She melded into the opening and epilogue tavern scenes filled with young men huddled around Hoffmann, her femininity completely and appropriately disguised.

Emily McCormick, Daily Bruin


Mezzo Kate Lindsey sang with rich tone and buttery legato, even while kicking her heels up and strumming a guitar throughout an aria. Her mocking impression of Olympia deservedly earned the evening’s biggest laugh. 

Ilana Walder-Biesanz, Bachtrack

Dead Man Walking

Washington National Opera, 2017


It’s not the size of Lindsey’s voice that impresses me the most... It’s the way she colors every line emotionally and creates so many contours and nuances to her journey. It’s her boldness to follow down into the depths of being and find the sound that most matches what she wants to communicate…. She is fearless.

Susan Galbraith, DC Theatre Scene


Ms. Lindsey’s lead role requires her to be almost constantly on stage. Luckily, she has superior vocal control and pacing which propels her through this challenging role. Ms. Lindsey’s aria questioning her ability to face the mission God impels her to fulfil is mesmerizing – Lindsey sings with a purity of tone that is almost ethereal in effect.

David Friscic, DC Metro Theater Arts


Lindsey is a lovely Sister Helen, her mezzo-soprano voice and expressive movements balancing the hopefulness of youth with the exhaustion of a winless situation. She brims with authenticity and avoids being overly saccharine - important when portraying a nun who is real and imperfect.

Barbara Johnson, BroadwayWorld


Kate Lindsey sings with a sweet, rich beauty that only increases as the evening progresses and emotions grow…  It is a long and intense role and Lindsey is utterly memorable.

Kate Wingfield, Metro Weekly


Lindsey brings a sharp emotionalism and faith into her singing; she navigates her solos like a surfer when the music threatens to become merely vocalized talk, playing the role with a sprite’s energy in both her voice and her body. Her voice always seeming to see a note ahead, filling in the spots.

Gary Tischler, The Georgetowner

Les Contes D'Hoffmann

Royal Opera House, 2016


"American mezzo Kate Lindsey comes close to stealing the show with her flawlessly sung, immaculately observed double role as Hoffmann’s young amanuensis Nicklausse and his protective Muse."

George Hall, The Stage


"Kate Lindsey is an outstanding Nicklausse, never better than when sending up Olympia with some clockwork trills of her own."

Richard Morrison, The Times


"No one, though, eclipsed Kate Lindsey as Nicklausse, Hoffmann's 80°-proof spiritual muse. The American mezzo's every appearance lifted this revival above the routine, and from the famous barcarolle to a stylish farewell her limpid tones had the warm glow of sugared absinthe. Santé."

Mark Valencia, What's On Stage


"Kate Lindsey is strong as Nicklausse, the voice of reason that Hoffmann all too rarely hears."

Tim Ashley, The Guardian

La Clemenza di Tito

Metropolitan Opera, 2012


"The agile, vivacious Kate Lindsey won hearts and stole scenes as Annio, Sesto’s friend and Servilia’s lover."

Steve Smith, The New York Times


"As Servilia’s sweetheart Annio, another cross-dressing part, Kate Lindsey’s vibrant mezzo contrasted handsomely with Garanca’s cooler sound."

James Jorden, New York Post


"And full-throated mezzo Kate Lindsey, in a second “trousers” role as Annio, sounds ready to move up to the part of Sesto."

The Associated Press


"The agile American mezzo Kate Lindsey excelled as Annio, the opera’s second travesti character and Servilla’s intended. They were a touching pair of lovers in the Act I duet, one of the early vocal highlights."

Paul J. Pelkonen, The Classical Review

Le Nozze di Figaro

Festival Aix-en-Provence, 2012


"American mezzo-soprano Kate Lindsey nearly stole the opening-night show from time to time as a skinny, lustful nerd of a Cherubino, making even the recital-staple aria Voi Che Sapete sound a little new and different."

Judy Fayard, France Today


"The biggest ovation went to Cherubino, American mezzo Kate Lindsey, dressed in a suit and tie who fussed with the Countess’ bra (the libretto says ribbon) and sang breathlessly making Mozart’s young lover quite fun and real."

Michael Milenski, Opera Today


Don Giovanni

Royal Opera House, 2012


"As Zerlina, Kate Lindsey was charming and incredibly entertaining; one feels slightly excited each time she appears on-stage to sing."

        Michael Migliore, Musical Criticism

Don Giovanni

San Francisco Opera, 2011

"Lindsey displayed impressive agility in both the vocal and physical realms"

        Emily Hilligoss, San Francisco Weekly


"Kate Lindsey, as Zerlina offered the most beautiful performance of the evening. She was in command throughout, both vocally – with her bright but intense mezzo timbre – and physically. Thanks to Lavia's direction, she was also the only one who could counterpoise a genuine, somewhat blazing sexuality to Don Giovanni's violent statements...this portrayal of Zerlina created a space in which she could explicitly play with her sexuality."

        Marina Romani, Musical Criticism

Il Turco in Italia

Los Angeles Opera, 2011


"Young mezzo Kate Lindsey's lovely, lithe Zaida more than holds her own vocally and dramatically as the lover whose passion and constancy win out in the end. Possessing a dancer's grace, she needs no stunt double for her many lifts and thrusts."

        Rodney Punt, Huffington Post

The Fugitives

New York Festival of Song, 2008


"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."

Instant Encore


"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


Metropolitan Opera

"As Siébel, the mezzo-soprano Kate Lindsey also improved on her first-cast counterpart, singing with lithe power."

Les contes d'Hoffmann

Metropolitan Opera

"The mezzo-soprano Kate Lindsey, singing with warmth and subtlety and looking alluringly androgynous, makes a trustworthy muse."

        Anthony Tommasini, New York Times


Seattle Opera

"The second scene takes place in 1996, in the home of the adult Amelia, portrayed by the subtly charismatic, vocally warm and lovely mezzo-soprano Kate Lindsey."

       Anthony Tommasini, New York Times

Recital at Barns

Wolftrap Opera


"If Alma Mahler, Dominick Argento and Miss Manners had attended the same dinner party, the conversation would have been endlessly diverting. At least that was the impression given by an approximation of such an evening, the delectable recital by Kate Lindsey on Friday at the Barns at Wolf Trap.

"It was a homecoming for the Richmond-born mezzo-soprano, whose first local triumph was the title role of Wolf Trap Opera Company’s production of “La Cenerentola” in 2005. Her voice remains rich and rarefied, a dark-colored ribbon of sound that is silky but not boringly smooth. In little sets of pleasing songs by Bizet, Liszt and Ives, she was by turns sultry and powerful, with a husky chest voice that never crossed into graininess."

        Charles T. Downey, The Washington Post

Mozart Mass in C Minor

Mostly Mozart Festival


"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

Elliott Carter:                            "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

Le Nozze di Figaro

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