Kate Lindsey

Olga Neuwirth, for a long time one of the great composers of the present, succeeds with this opera in creating a captivating arc across many musical genres. It’s an exciting, socially critical production by Polly Graham who puts a fantastically singing and playing Kate Lindsey in the center of the action.

Glyndebourne's wartime history as a home for evacuee children is the ingenious context for a new production of this unclassifiable entertainment in which low comedy and high tragedy compete for our attention, "borne aloft by Strauss's divine music and Hofmannsthal's visionary poetry". At the centre of this production from Katharina Thoma is the noble, tragic figure of the abandoned Ariadne herself, in a haunting performance from Soile Isokoski, 'with brilliant support from the pit' (The Independent).

Dido, founder and queen of Carthage, falls in love with the Trojan hero Aeneas and they conduct a passionate affair. Tricked into leaving Dido by an evil Sorceress, Aeneas prepares his fleet in secret for departure. Dido cannot live without Aeneas and sings her great lament (‘When I am laid in earth’) and her passing is mourned by a chorus of cupids.

New tenor star Vittorio Grigolo takes on the title role in Offenbach’s fantastical opera, giving a tour-de-force performance as the tortured poet unlucky in love. He is joined by a trio of leading ladies: Erin Morley sings the mechanical doll Olympia, Hibla Gerzmava is the fragile Antonia, and Christine Rice sings Giulietta, the Venetian courtesan. Bartlett Sher’s colorful production, seen here in its second Live in HD presentation, also stars Thomas Hampson as the sinister Four Villains and Kate Lindsey as Niklausse, Hoffmann’s friend and muse. Yves Abel conducts.

Don Giovanni - Aus der Wiener Staatsoper, Dezember 2021

Live from the Metropolitan Opera 19 December 2009.

The great storyteller Hoffmann is losing himself to drink. His rival in love, Councillor Lindorf, claims that Hoffmann knows nothing of the heart, and so goads Hoffmann into telling the tales of his three great loves – each destroyed by a villain who bears an uncanny resemblance to Lindorf… First Hoffmann tells of his infatuation for the mechanical doll, Olympia – who is destroyed by the inventor Coppélius. Next comes the courtesan Giulietta, who throws over his adoration in favour of jewels from the magician Dappertutto. Finally, the gentle Antonia is forced to sing to her death by the wicked Doctor Miracle. His stories finished, Hoffmann rouses from his drunken stupor to find Lindorf has made off with Stella, Hoffmann’s latest love – but the Muse compels him to transform his heartache into art.

Jean-Pierre Ponnelle’s dramatic production brings ancient Rome to life for this gripping tale of revenge, terror, and attempted murder. Giuseppe Filianoti is the Emperor Tito who chooses Servilia to be his Empress. But when she tells him she is already in love with Annio he decides to wed Vitellia instead. Unaware of the honor about to be bestowed on her, Vitelllia, daughter of the deposed emperor, is determined to seek revenge on Tito and ensnares her lover Sesto in her dark plot. Early music specialist Harry Bicket conducts.

A ruthless dictator falls in love with a sexy woman. Together, they get rid of every obstacle in their way: his wife, her former lover, and also the voice of reason. Everything is sacrificed to passion, in this tale where evil triumphs, virtue and reason are humiliated, and nothing corresponds to our moral principles. Jan Lauwers, the director and choreographer, sets L'incoronazione di Poppea in a way congenial to his means: a visual artist, he translated the emotions expressed by Monteverdi’s music into dancing and visual images. The result was mixed; the general impression was one of many ideas, seemingly not fully developed or analysed. The stage was constantly cluttered with moving bodies, or tableau vivants, leaving a sense of confusion, and distracting from the music.

As the imperious title empress, mezzo-soprano Joyce DiDonato leads the Met premiere of Handel’s tale of deception and deceit. Harry Bicket conducts Sir David McVicar’s wry new production, which gives this Baroque black comedy a politically charged, modern updating.

Tamino, a handsome prince, and Papageno, a bird-catcher, are sent by the Queen of Night to rescue her daughter Pamina from captivity under the high priest Sarastro. Julie Taymor's abridged, English-language production of the classic Mozart opera.

The Seven Deadly Sins tells the story of two sisters, Anna I and Anna II. The sisters set out from the banks of the Mississippi River in Louisiana to find their fortune in the big cities, intending to send their family enough money to build a little house on the river. Along the way they encounter the seven deadly sins. Meanwhile, the fleshpots of Mahagonny attract many visitors, but prove disappointing and expensive; God orders the inhabitants to hell, but they revolt, claiming they are there already"

Royal Opera House Live Cinema Season 2016/17: Les Contes d'Hoffmann (2016)

Production of the Salzuberger Festspiele 2024. French director Mariame Clément will explore the relationship between art and real life by linking the three “tales” with individual stages of Hoffmann's biography as an artist in her production. This has decisive consequences for the female characters, or rather for the view of the images that Hoffmann projects onto Stella: the angelic but emotionally cold Olympia, who turns out to be a doll;

The 2016 Aix-en-Provence Festival presented Mozart’s Così fan tutte in a modern, provocative production directed by Christophe Honoré. The staging reimagined the opera’s exploration of fidelity and deception against the backdrop of colonial-era Africa, addressing themes of power and exploitation. Honoré’s bold interpretation divided audiences, with some praising its daring approach and others finding it controversial. Conducted by Louis Langrée, the performance featured an exceptional cast, including Sandrine Piau, Lenneke Ruiten, and Kate Lindsey, whose vocal finesse and dramatic commitment brought vitality to Mozart’s intricate score. The inventive production blended historical commentary with the opera’s timeless emotional and comedic core, marking a memorable contribution to the festival’s legacy.

Méphistophélès, less an intellectual "principle of negation" than a devilishly attractive magician, draws his attention to Marguerite - and Faust is delighted. A deal is quickly struck: the devil serves Faust on earth, and after Faust's death it is to be the other way around. Marguerite is also not unimpressed by what Méphistophélès has to offer: material luxury and sensual pleasure, often musically illustrated by Gounod with a waltz. But the relationship between Faust and Marguerite remains an episode, as Faust is drawn to new attractions, while Marguerite remains pregnant, only to see her unfaithful lover kill her brother.

Alone in a secluded mansion, Giacomo Casanova cries out then collapses. When the mysterious and beautiful writer, Elisa von der Recke, comes to visit, it breathes new life into the old man. A movie that captures the myth of the greatest seducer of all times, Casanova, his story is told both through fiction and on-stage opera performances that unravel the tale of his adventures, his passions, and ultimately his fear of death.

Les Contes d’Hoffmann opera intertwines reality and fantasy, exploring the relationship between art and real life in Mariame Clément’s staging, with Marc Minkowski bringing the score to life.

With the world première of Il nome della rosa, an opera based on Umberto Eco’s novel commissioned to Francesco Filidei by La Scala and the Paris Opéra, Piermarini’s stage is once again at the centre of the international panorama of contemporary culture. Il nome della rosa, conducted by Ingo Metzmacher, is the composer’s third opera after Giordano Bruno and L’inondation. Taking his cues from Eco’s descriptions of his novel as an ‘opera buffa’, Filidei develops the music with a central symphonic structure as rootstock for a succession of arias and recitativi, nearly closed forms whose substance derives principally from the variation of Gregorian melodies. In conjunction with the La Scala performances, Milano Musica will also dedicate a monographic edition to Filidei.

It’s a busy day in the manor house as the staff prepare for the marriage of the wily valet Figaro and his quick-witted fiancée, the maid Susanna. But the head of the house, Count Almaviva, wants Susanna for himself—and he’s used to getting his way. With the help of the slighted Countess, Figaro and Susanna work to turn the manor upside down in order to exchange their holy vows of matrimony.

Mary Stuart, Queen of Scotland — her name will be linked in perpetuity with another name: Elizabeth I of England. Mary and Elizabeth: two queens, two adversaries, two women in the middle of the 16th century. Although ‘sisters and cousins’, they never actually encountered each other in the flesh — contrary to the fictional conceit.

With this new La clemenza di Tito, Jérémie Rhorer continues his exploration of Mozart — a journey he began a few seasons ago with Idomeneo. A blend of passionate yet thwarted love, steadfast friendship, political conspiracy, and ultimate forgiveness — themes as timelessly relevant today as ever — was bound to appeal to Denis Podalydès, a man of the theater well-versed in the great classical repertoire. While the shadow of Racine may not be far off, here it is humanized by the profound musical tenderness of a Mozart in full command of his creative powers.

Ariadne auf Naxos - Salzburger Festspiele 2026