Katherine Marriott

Katherine Marriott

Dramatic Mezzo-Soprano

Freelance dramatic mezzo
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«"Herausragende Leistungen zeigten Katherine Marriott als Lady, vor allem in der Wahnsinnsszene." ("Katherine Marriott demonstrated outstanding abilities as Lady [Macbeth], most notably in her mad scene.")»
(ULRICH BOLLER, FRANKFURTER NEUE PRESSE, 23 MAY 2011) (2017)
2017Barber: VanessaThe Old Baroness
2014Verdi: La TraviataFlora Bervoix
2013Henze: Der Prinz von HomburgDie Kurfürstin
2012Tchaikovsky: Eugene OneginFilipyevna
2011D'Albert: TieflandRosalia
2011Szymanowski: King RogerDiakonissa
2011Sciarrino: MacbethLady Macbeth
2011Smetana: The Bartered Bride (Prodaná Nevesta)Agnes
2010Strauss R.: SalomeHerodias

Bio

Katherine Marriott tends to think of herself as an actress who happens to be able to sing opera.  This can be useful in a lot of her repertoire - as a dramatic mezzo, she often sings intense, evil women who have to own the stage as soon as step on it; she balances this by thoroughly enjoying the smaller comprimario roles which often require lots of physical acting (for example playing older, or demented) and a knack for comedy timing. Now in her seventh year in Germany, with an enjoyable Fest contract behind her (Staatstheater Mainz), Katherine is freelance and happy to work anywhere.  She worked HARD to attain fluency in German - French and Italian came a lot more naturally - and believes that no other language could ever be so hard.  Jobs offers from Iceland, the Basque country and Oman particularly welcome . . . Previously masquerading as a soprano, Katherine made the transition to mezzo with a great sigh of relief, and is still relishing singing the evil and demented characters which come naturally to her temperament... She should probably have realised earlier where her true vocal nature lay, since the roles for which she won most acclaim as a soprano were the notorious firebrands Tosca and Abigaille. However she discovered the ease of her lower voice when she agreed to learn the role of Carmen at a week's notice for European Chamber Opera, for whom she had previously sung Tosca. During the tremendously enjoyable subsequent tour of Thailand and the Middle East, Katherine revelled in singing Carmen, whose music fit like a glove, and in using her flamenco dancing skills! With the guidance of her teacher and mentor, Rosalind Plowright, she explored the dramatic mezzo repertoire, and has moved with ease into such roles as Kostelnicka (Jenufa) and Azucena (Il trovatore). Having sung Ulrica (Un ballo in maschera), she was happy to risk being typecast as a mad-eyed gypsy; but recent seasons' huge success as Herodias (Salome) and Lady Macbeth (Macbeth, Sciarrino), have convinced her that being an outright bitch, or totally mad, or both, can also be very rewarding. Katherine has a very strong natural presence as an actress, and has proved her credentials as such in, for example, learning the role of Frau Peachum in the Brecht/Weill “Die Dreigroschenoper” at ten days’ notice for the Staatstheater Wiesbaden. Despite being renowned as a stage animal, Katherine also relishes giving song recitals. A natural linguist (and show-off), with an MA (Cantab) in Modern and Mediaeval Languages, she enjoys singing in a very diverse range of languages, and her recital repertoire encompasses several centuries and a wide range of
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CV & Repertoire

Musical Work Role Jump-in ready? Company Year
Barber: Vanessa The Old Baroness 1 week Stadttheater Bremerhaven Und Städtisches Orchester Bremerhaven 2017
Verdi: La Traviata Flora Bervoix Staatstheater Mainz 2014
Henze: Der Prinz von Homburg Die Kurfürstin Staatstheater Mainz 2013
Tchaikovsky: Eugene Onegin Filipyevna Staatstheater Mainz 2012
D'Albert: Tiefland Rosalia Staatstheater Mainz 2011