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.

Katherine will make her debut this summer at the prestigious Glimmerglass Festival as Dinah in Berstein’s Trouble in Tahiti and Lapák the dog in a new English translation of Janácek’s The Cunning Little Vixen.

As Kate Pinkerton in Berkshire Opera Festival’s production of Madama Butterfly “Maysek…hits just the right tone.” (La Scene Musicale, August 2016) 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 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 concertized with the Concord Chorale, Burlington Choral Society, The Orchestra Now and the Blanche Moyse Chorale among others. Katherine’s concert repertoire includes Stravinsky’s Pulcinella with maestro Gerard Schwarz, Vivaldi’s Gloria with maestro James Bagwell and numerous Bach oratorios including the Christmas Oratorio, St. John Passion and Mass in B minor.

Maysek’s summer appointments have also included the Des Moines Metro Opera, the Tanglewood Music Center, Opera Saratoga and the Toronto Summer Music 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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“… 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