Katherine Rohrer
Vocalists
— Mezzo-Soprano
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Manager: Michael Benchetrit
Management Territory: Worldwide
“Mezzo-soprano Katherine Rohrer is a pure delight as Cherubino the page. Not only does she really manage to convince as a boy, but her new take on the character's two extremely familiar arias is artistically convincing and technically impressive.” —Kelly Dean Hansen, Daily Camera, May 2, 2005
“In a program note, Mr. Goren hypothesized that the reason this fine ‘Arianna’ has not been performed often is that it is so difficult, and this performance bore him out. Certainly the role of Teseo (Theseus), written for the castrato Carestini, is one of the hardest in the book, every aria a flood of notes spewing out as if from a fire hydrant. Katherine Rohrer, a mezzo-soprano, was deeply impressive, playing it convincingly as an angry teenage boy of about 16, all hormones and intensity, and hurling her agile voice (full but not dark) up and down the scale as she executed various bits of stage business, like brushing her teeth, without any break in the cascade of notes.” —Anne Midgette, The New York Times, February 12, 2005
“Even among so many works of coloratura, the role of Teseo stands out for its immense floridity, and Katherine Rohrer relished the difficulties, giving the high-wire vocal acts a real gusto and admirably balancing her hearty, rich voice and the agility the part requires. […] (It must be said, however, that the scene of Teseo in the bathroom - Ms. Rohrer gargling, brushing her teeth, all the while singing her roller-coaster, virtuoso lines - was a veritable hoot.)” —Daniel Schlosberg, The Sun, February 14, 2005
About
Mezzo-soprano Katherine Rohrer, a former Adler Fellow, has been impressing audiences in America and Europe with both her vocal and acting abilities.
Katherine Rohrer’s current engagements include her first Nicklausse/Muse in Les Contes d’Hoffmann with Opera Colorado, followed by performances with the New York City Ballet in Brahms’ Liebesliederwalzer at the Kennedy Center and in New YorkCity. Future engagements include debuts in Geneva and Antwerp in leading roles.
Recent projects included her debut in the title-role of Carmen with Glyndebourne on tour throughout the United Kingdom, . . . followed by the mezzo’s New York City Ballet debut as the mezzo solo in Brahms’ Liebesliederwalzer in New York City, the role of Lady Macbeth in Bloch’s rarely-heard Macbeth with London’s University College Opera and performances of the role of Sonyetka in Shostakovich’s Lady Macbeth of Mzensk with the Teatro Municipal in Santiago de Chile as well as Stella in Elliott Carter’s opera What Next? at the Miller Theatre in New York City. Recent concert appearances include Mendelssohn’s A Midsummer Night’s Dream with the Mito Chamber Orchestra and Seiji Ozawa, which was recorded for a commercial release both as a CD and a DVD, followed by Marguerite in Berlioz’ La Damnation de Faust with the St Louis Symphony and David Zinman. The mezzo also sang Clara in Prokofiev’s Betrothal in a Monastery in Valencia, Spain, followed by a recital and residency for the Marilyn Horne Foundation in Louisville, KY. In the summer, Katherine Rohrer returned to the Glyndebourne Festival for Mercedes in Carmen.
Miss Rohrer’s 2006/2007 season started with the mezzo-soprano’s return to the San Francisco Opera for Maddalena in Rigoletto, followed by her debuts, first with the Lyric Opera of Chicago as Stephano in Roméo et Juliette, then at the New York City Opera as Vitige in Handel’s Flavio. Miss Rohrer then returned to Great Britain for Pauline in Prokofiev’s The Gambler and she made her debut with the Glimmerglass Opera as the Messenger and Proserpine in Monteverdi’s Orfeo. Katherine Rohrer also appeared in recital in Bradford, PA under the auspices of the Marilyn Horne Foundation.
Katherine Rohrer made her debut with the Glyndebourne Opera as Nadine, the leading character in the World Premiere of Lunn’s Tangier Tattoo. Later that season Katherine Rohrer sang Oberto in Handel’s Alcina with the Opéra de Lyon, appeared in a gala concert for the Marilyn Horne Foundation at Carnegie’s Zankel Hall and made her Atlanta Symphony debut singing the Soprano II in Mozart’s Great Mass in C Minor with Donald Runnicles conducting.
Other projects included a triumphal debut with the Gotham Chamber Opera as Teseo in Handel’s Arianna in Creta and with Opera Colorado as Cherubino in Le Nozze di Figaro as well as a return to the San Francisco Opera as Dorabella in Così Fan Tutte and Paulina in The Queen of Spades.
Katherine Rohrer has also been featured in two recitals with the 2003 Schwabacher Debut Recital Series. She toured the nation with Western Opera Theater as Dorabella in Così Fan Tutte and appeared as Charlotte in The Grand Duchess of Gerolstein with Opera Theater of St. Louis, Ida in Die Fledermaus and both Flora and Annina in La Traviata with Central City Opera.
Additional credits include the Mother in Amahl and the Night Visitors, the title roles in La Périchole, in TheRape of Lucretia, Jenny in Three Penny Opera, and Hermia in A Midsummer Night’s Dream. She also has performed Cherubino in Le Nozze di Figaro and Dorabella in Così Fan Tutte with Stetson University Opera.
The mezzo-soprano’s competitions and awards include the John Moriarty Apprentice Encouragement Award at Central City, first place in the Rose Palmer Mobile Opera Competition, and third place in the Eleanor McCollum Competition at Houston Grand Opera. She was also a winner in the New England Region Metropolitan Opera Competition and placed as a finalist in the National Competition. Ms. Rohrer holds a bachelor’s degree from Stetson University and a master of music degree from the New England Conservatory.
