Katie Van Kooten



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 Eugene Onegin, the Houston Chronicle wrote, “Her singing is extraordinary in is radiance, power and sheer expressiveness. Her “Letter Scene” alone, would be reason enough to attend.”

In the current season Ms. Van Kooten will return to the Lyric Opera of Kansas City Opera to reprise her portrayal of the Countess in Mozart’s Le Nozze di Figaro, and will return to the Baltimore Symphony Orchestra for Beethoven’s Ninth Symphony conducted by music director, Marin Asop and the Oregon Symphony for Mozart’s Requiem, conducted by Jean-Marie Zeitouni.  The 2015-16 season saw her return to Houston Grand Opera as Tatyana in Eugene Onegin, as well as concert appearances with the Minnesota Orchestra for Strauss’ Four Last Songs and Mahler’s Symphony No. 4 under the baton of music director Osmo Vänskä, and Beethoven’s Ninth Symphony with the Oregon Symphony.

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“…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

More Reviews

“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