Known for her vivid and touching vocal performances, mezzo-soprano Katherine Maysek is an artist equally at home on the stage and in the concert hall. Ms. Maysek loves the challenge of portraying many vastly different characters, be they within song, oratorio, or opera. 

Ms. Maysek will return to The Glimmerglass Festival in 2019 as Cherubino in John Corigliano’s The Ghosts of Versailles. Last summer she debuted at Glimmerglass as Dinah in Berstein’s Trouble in Tahiti and Lapák the dog in Janácek’s The Cunning Little Vixen.

Katherine made her Carnegie Hall debut with the American Symphony Orchestra in a rare production of Max von Shillings’ Mona Lisa. Other operatic roles include Brother (Stefan Weisman’s The Scarlet Ibis), Kate Pinkerton (Madama Butterfly),Lisbé (Grétry’s Zémire et Azor), Meg Page (Falstaff), Mrs. Grose (The Turn of the Screw), Nerone (L’incoronazione di Poppea) and Cherubino (Le nozze di Figaro).

Ms. Maysek has collaborated with the Concord Chorale, Burlington Choral Society, The Orchestra Now and the Blanche Moyse Chorale among others. Katherine’s concert repertoire includes Stravinsky’s Pulcinellawith maestro Gerard Schwarz, Vivaldi’s Gloriawith maestro James Bagwell and numerous Bach oratorios including the Christmas Oratorio, St. John Passionand Mass in B minor. 

Katherine has also appeared with the Des Moines Metro Opera, the Tanglewood Music Center, Boston Opera Collaborative, Mass Opera, Opera Saratoga and the Berkshire Opera Festival. Katherine received her bachelors degree from McGill University and her masters degree from Bard College Conservatory’s Graduate Vocal Arts Program.

 

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Press

“… Katherine Maysek delivered her phrases with smooth-tone and elegance.”

Boston Classical Review

Odyssey Opera, 2018

“Two members of the Opera Saratoga Young Artist Program, soprano Lisa Rogali and mezzo-soprano Katherine Maysek, played, respectively, Sanders’ two other daughters, the vain and flighty Fatme and Lisbe. Both performers offered pert, preening delight and evinced clean mastery of the sprightly yet demanding vocal lines with which Grétry’s score tasks them.”

La Scena Musicale

Opera Saratoga, 2017