Katherine Whyte has delighted audiences and critics alike on opera and concert stages across her native Canada, the United States and Europe. Opera Today has praised her “keen artistic sensibility” while the San Francisco Classical Voice singled out “her glamorous, vibrato-rich voice”. Following her Metropolitan Opera debut in 2007 in Strauss’ Die Ägyptische Helena, she has returned to the company for productions of Iolanta, Rigoletto, Jenufa, The Gambler, The Enchanted Island, Two Boys, Parsifal, Don Giovanni, Così fan tutte, and Suor Angelica.
Recent and upcoming engagements for Ms. Whyte include her celebrated Countess Almaviva in Le nozze di Figaro with Intermountain Opera Bozeman; her debut with Syracuse’s Symphoria performing Poulenc’s Gloria; a return to New Choral Society as soprano soloist in Carmina Burana; a solo recital at Gordon College, her debut with Heartbeat Opera as Agathe in Der Freischütz; and Fiordiligi in Così fan tutte with Opera Grand Rapids.
The 2018-19 season for Ms. Whyte included Beethoven’s Ninth Symphony with the Louisiana Symphony, joining Opera Hong Kong as Donna Anna in Don Giovanni, Adina in L’elisir d’amore with Grand Junction Symphony Orchestra, and returning to The Metropolitan Opera for their production of Suor Angelica. The 2017-2018 season saw her back at The Metropolitan Opera for Parsifal as well as appearing in concert with the Mountain View International Festival of Song and the Orquesta Sinfonica Mineria for Beethoven’s Ninth Symphony. Additionally, she appeared with both Charlottesville Opera and the Norwalk Symphony as the Countess in Le nozze di Figaro. The 2016-2017 season included her return to The Metropolitan Opera for productions of Jenufa and Rigoletto, a debut with the Edmonton Symphony for Handel’s Messiah, Fauré’s Requiem with Manhattan Concert Productions at Carnegie Hall, and her debut with the Qingdao Symphony Orchestra in China. The 2015-2016 season saw her debut with the Dallas Opera as Pousette in Manon, a return to the Metropolitan Opera for their production of Rigoletto, the Countess in Le nozze di Figaro with Opera Saratoga, and concerts with the Kaohsiung Symphony Orchestra and the Orchestra of China’s National Opera at the Meet in Beijing Arts Festival.
Other notable operatic appearances include the title role of Iphigénie en Tauride and Iris in Semele with Canadian Opera Company, the Countess in Le nozze di Figaro with the Princeton Festival, her Vancouver Opera debut as Donna Anna in Don Giovanni, Gilda in Rigoletto with English National Opera, the Countess in Le nozze di Figaro with Virginia Opera and Opera Hamilton, Pamina in Die Zauberflöte with Michigan Opera Theatre, Euridice in Gluck’s Orfeo ed Euridice with Atlanta Opera, and Iphis in Handel’s Jephta with Opéra National de Bordeaux.
Ms. Whyte’s appearances on the concert stage include Beethoven’s Mass in C Major, Stravinsky’s Pulcinella, Mozart’s Requiem, and Handel’s Messiah with the Houston Symphony, Neilsen’s Symphony No. 3 with the San Francisco Symphony, Carmina burana and Beethoven’s Symphony No. 9 with the National Chorale, Beethoven’s Symphony No. 9 with the Arkansas Symphony Orchestra, Mozart’s Mass in C-minor with the Vancouver Symphony, Brahms’ Ein deutsches Requiem with the Orquesta Sinfónica Nacional de Costa Rica, Mendelssohn’s A Midsummer Night’s Dream with the Colorado Symphony, Handel’s Messiah with the National Symphony Orchestra, Beethoven’s Ninth Symphony with the Orquesta Sinfonica Nacional, Mozart’s Requiem with the Alabama Symphony Orchestra,
and Handel’s Messiah with the New Choral Society. The winner of the 2007 Alice Tully Recital Competition, Ms. Whyte made her Carnegie Hall debut in Solo recital at Weill Hall in 2008.