Katie Van Kooten

Soprano

Biography

American soprano Katie Van Kooten’s operatic and concert appearances continue to thrill audiences and earn her praise for using her “powerful, gleaming soprano” to bring vibrancy and life to all of her performances.  Of her recent role debut as Tatyana in Tchaikovsky’s Yevgeny Onegin, the Houston Chronicle wrote, “Her singing is extraordinary in its radiance, power and sheer expressiveness. Her ‘Letter Scene’ alone, would be reason enough to attend.”

In the 2018-2019 season, Ms. Van Kooten will make her house debut with Arizona Opera as the Countess in Mozart’s Le nozze di Figaro. Concert appearances this season include Beethoven’s Ninth Symphony with the Calgary Philharmonic Orchestra and the Fort Wayne Philharmonic, as well as Verdi’s Requiem with the Eugene Symphony.  In the 2017-2018 season, Ms. Van Kooten made her house debut at Dallas Opera as Donna Elvira in Mozart’s Don Giovanni, under the baton of music director Emmanuel Villaume. On the concert stage, she returned to the Boston Symphony Orchestra at the Tanglewood Festival for Beethoven’s Ninth Symphony conducted by Andris Nelsons, a piece with she also sang with the Rochester Philharmonic.

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Reviews

“…a major operatic talent. Her singing has something of the same glow radiated by Te Kanawa or Freni, and her endearing charm and bright smile make her a winning stage personality.”

The Daily Telegraph

“The rising young soprano Katie Van Kooten, an American who has made her career mainly in London, contributed a highly appealing Marguerite, offering a fluent, securely sung Jewel Song, graced by a good trill, and some nicely floated phrases in the Love Duet. She was also strong in projecting Marguerite’s anguish in the Church Scene.”

The New York Times

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“The role of schoolmistress Ellen Orford, Grimes’ only friend, could not be any more sensitively acted or exquisitely sung than it is here by Katie Van Kooten… With her radiant soprano and intense conviction, Van Kooten is ideal as the compassionate Ellen. She conveys the heartbreaking essence of the role, that her desperate effort to save Grimes is futile, as she at last realizes in her beautiful “Embroidery” aria.”

Houston Chronicle

“Thus, Rosina’s aria, “Dove sono i bei momenti,” becomes a haunting lament, heightened by soprano Katie Van Kooten’s impeccable, soulful performance.”

Kansas City Star

“Soprano Katie Van Kooten (Helena) in her HGO debut, delivered highly athletic and movingly sung portrayals of love, anger, disgust, incredulity, hopelessness and, by morning’s light, blissful relief.”

Opera News

“Making her Hallé debut, she brought a rapt beauty to Richard Strauss’s Four Last Songs, the perfect vehicle for her lyrical yet dramatic voice. Her full, glowing tone soared remarkably easily over the orchestra and her innate feeling for a long phrase allowed the ecstasy and longing of the first two songs to unfold seamlessly… As for Van Kooten, she sounded unforced, unfettered, even – especially in “Frühling” – while showing no inclination to linger unnaturally over music that is already autumnal enough in its sense of elegiac valediction. Her voice seemed to blossom through each piece, radiating myriad colours, to the work’s shimmering end.”

The Independent

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