See 7 performances featuring Kate ValentineKate Valentine studied at the Royal Scottish Academy of Music and Drama and the National Opera Studio. A Samling Foundation Alumna, her numerous awards include the Glyndebourne Anne Wood/Joanna Peters Award, a Sybil Tutton Award, a Susan Chilcott Scholarship, and Scottish Opera's John Scott Award.
Her recent roles include Donna Anna Don Giovanni for Samling Opera at The Sage, Gateshead, Konstanze (cover) Die Entführung aus dem Serail and Alice Ford Falstaff for Scottish Opera, Rosalinde Die Fledermaus for Scottish Opera on Tour and Scottish Opera Go Round, and Countess Almaviva Le nozze di Figaro with Glyndebourne on Tour.
She made her Edinburgh International Festival debut in Vaughan Williams Serenade to Music under David Jones with the Scottish Chamber Orchestra, and appeared again as Second Women Dido & Aeneas under Nicholas McGegan. Her concert repertory also includes Handel Messiah at the Royal Albert Hall under Sir David Willcocks, Dixit Dominus and Solomon; Mendelssohn Elijah; Haydn Nelson Mass; Poulenc Gloria; Rossini Petit Messe Solennelle; Rutter Magnificat and Requiem; Mozart Exsultate Jubilate, Coronation Mass, Solemn Vespers and C Minor Mass.
Engagements this season and beyond include Grizel The King's Conjecture and Maria Gesualdo for Scottish Opera's Five:15 project, Karolina in Smetana The Two Widows also for Scottish Opera, Cathleen in Vaughan-Williams Riders to the Sea and First Lady The Magic Flute for English National Opera, Konstanze Die Entführung aus dem Serail for Opera North and Brahms Requiem in St Alban's Abbey with Sir Thomas Allen.
For more information please visit: www.rayfieldartists.com/katevalentine.html
| Date and venue | Title |
|---|---|
| 29-Apr-2013 The London Coliseum | Refreshingly unfussy: Jonathan Miller's classic La bohème revived at ENO |
 What to do with a “classic revival” that has, in the main, met the critics’ eye of approval? That was the question facing Natascha Metherell, the revival director of ENO’s production of La bohème, which opened this week at the Coliseum. The revival was in fact deftly handled: a production which remained faithful to Miller’s original vision, with honest, rather than over-egged, sentimentality.
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| 23-Mar-2012 Usher Hall | RSNO: Brahms and Lieberson |
 Of all the 'time arts', music is arguably best placed to convey impermanence. Frikki Walker's excellent pre-concert talk – the most philosophical I've experienced at an RSNO Friday evening concert – set this train of thought in motion.
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| 5-Oct-2011 The London Coliseum | A feminist Figaro |
 What’s the connection between Harry Potter and Mozart? Fiona Shaw is perhaps best known these days as the boy wizard’s Aunt Petunia – or our greatest classical actress for those with longer memories. But for the past few years she’s been quietly building herself a reputation as an opera director, starting with the well-received but obscure Elegy for Young Lovers and Riders to the Sea for English National Opera. Now she’s tackling a cornerstone of the repertoire, Mozart’s Marriage of Figaro.
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| 19-May-2011 The London Coliseum | A Midsummer Night's Dream at English National Opera |
 Several audience members didn't bother to return after the interval, and there were a few walkouts even before that. It seems Christopher Alden's darkly brilliant new production isn't for everybody. But those of us who stuck it out for the full three hours were rewarded with a reminder that beneath the surface of the Shakespeare-based fairy fable lurk some disquieting truths.
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