Kate Royal

Recent engagements include a series of recitals with pianist Joseph Middleton, Beethoven Symphony No. 9 with the Malmo Symphony Orchestra, The Creation at the Wimbledon Festival, Acis and Galatea in Wroclaw and Pulcinella with the COE and Matthias Pintscher.

© Jason Joyce


Kate Royal’s awards include the 2004 Kathleen Ferrier Award, the 2004 John Christie Award, and the 2007 Royal Philharmonic Society Young Artist Award.

Opera roles include Pamina Die Zauberflöte, Countess Le nozze di Figaro, Governess The Turn of the Screw, Poppea, Miranda in Thomas Ades’ The Tempest and the Marschallin for the world’s major opera houses, including the Royal Opera House Covent Garden, Teatro Real Madrid, the Opéra de Paris and Glyndebourne Festival Opera.

Concert engagements include the Berlin Philharmonic Orchestra (Rattle), Scottish Chamber Orchestra (Ticciati), Rotterdam Philharmonic (Nezet-Seguin), Cleveland Orchestra (Franz Welser-Möst) and Swedish Radio Symphony Orchestra (Harding).

Video & Audio

From The Green Room


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    Beethoven: The 9 Symphonies

    Label: Ondine

    Release Date: 01 Jun 20

    Malmö Symphony Orchestra
    Robert Trevino, conductor
    Kate Royal, soprano
    Christine Rice, mezzo-soprano
    Tuomas Katajala, tenor
    Derek Welton, bass
    MSO Festival Chorus


    Catalogue Number: ODE 1348-5Q

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    Prince of Players

    Label: Reference Recordings

    Release Date: 24 Apr 20

    William Boggs: Conductor

    Edward Kynaston: Keith Phares

    Margaret Hughes: Kate Royal

    Thomas Betterton: Alexander Dobson

    King charles ii: Chad Shelton

    Sir Charles Sedley: Frank Kelley

    Villiers, Duke of Buckingham: Vale Rideout

    Milwaukee Symphony Orchestra

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    Debussy and Mozart Songs

    Label: BBC Music Magazine

    Release Date: 30 Mar 18

    Soprano: Kate Royal
    Soprano: Ruby Hughes
    Tenor: Nicky Spence
    Bass-Baritone: Ashley Riches
    Piano: Joseph Middleton

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    ELGAR Enigma Variations

    Label: Hyperion

    Release Date: 28 Oct 16

    Conductor: Martyn Brabbins
    Soprano: Kate Royal
    BBC Scottish Symphony Orchestra

    Two much-loved orchestral favourites representing the summit of Elgar’s maturity are coupled with three of the lesser-known wartime works, here receiving their first recordings with the original French texts. Kate Royal is the soprano soloist in Une voix dans le désert.

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    BRITTEN: The Rape of Lucretia

    Label: Opus Arte

    Release Date: 11 Jul 16

    Conductor: Leo Hussain
    Director: Fiona Shaw

    Lucretia: Christine Rice
    Male Chorus: Allan Clayton
    Female Chorus: Kate Royal
    Tarquinius: Duncan Rock
    Collatinus: Matthew Rose
    Junius: Michael Sumuel
    Bianca: Catherine Wyn-Rogers
    Lucia: Louise Alder

    London Philharmonic Orchestra

    Recorded live at the 2015 Glyndebourne Festival

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    Schumann: Das Paradies und die Peri

    Label: LSO Live

    Release Date: 02 Oct 15

    Conductor: Sir Simon Rattle
    Soloists: Sally Matthews, Mark Padmore, Kate Royal, Bernarda Fink, Andrew Staples, Florian Boesch

    London Symphony Orchestra
    London Symphony Chorus
    Recorded live at the Barbican, 11th January 2015

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    STRAUSS Der Rosenkavalier

    Label: Opus Arte

    Release Date: 01 Jun 15

    Conductor: Robin Ticciati

    Octavian: Tara Erraught
    Marschallin: Kate Royal
    Baron Ochs: Lars Woldt
    Sophie: Teodora Gheorghiu
    Faninal: Michael Kraus

    The Glyndebourne Chorus
    London Philharmonic Orchestra

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    MOZART: Die Zauberflöte

    Label: Berliner Philharmoniker

    Release Date: 31 Oct 13

    Conductor: Sir Simon Rattle

    Tamino: Pavol Breslik
    Pamina: Kate Royal
    Sarastro: Dimitry Ivashchenko
    Queen of the Night: Ana Durlovski
    Papageno: Michael Nagy
    Papagena: Regula Mühlemann
    First Lady: Annick Massis
    Second Lady: Magdalena Kožená
    Third Lady: Nathalie Stutzmann
    Speaker: José van Dam
    Monostatos: James Elliott
    First Priest: Benjamin Hulett
    Second Priest: Jonathan Lemalu
    First Armoured Man: Andreas Schager
    Second Armoured Man: David Jerusalem

    Berliner Philharmoniker

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    A Lesson in Love

    Label: Warner Classics

    Release Date: 14 Feb 11

    Soprano: Kate Royal
    Piano: Malcolm Martineau

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    Kate Royal: Midsummer Night

    Label: Warner Classics

    Release Date: 01 May 09

    A recital collection focusing on female characters in 20th century opera.

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    The Songs of Robert Schumann, Vol. 10

    Label: Hyperion

    Release Date: 01 Nov 07

    Soprano: Kate Royal
    Piano: Graham Johnson

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    18 Jul 20 FLOYD Prince of Players

    “But, it’s Kate Royal, as Peg Hughes who outshines all. Initially earnest and sympathetic, when disparaging the “chattering ninnies with magpie minds” (Miss Frayne and Lady Meresvale, sung by Nicole Heinen and Briana Moynihan respectively) who usher Kynaston into the night following his theatrical triumph as Desdemona, Royal finds touching lyrical sincerity when singing of Peg’s dreams and her love: “One day, perhaps one day my love will find its voice!” Her declaration, “More than anything in all the world, I want to be a player. To perform the roles that you perform, and on this very stage”, shimmers with truthful feeling, all the more powerful because of the theatrical unreality in which it is embedded. ”

    Claire Seymour, Opera Today, 18 July 2020

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    12 Oct 18 FLOYD Prince of Players
    Florentine Opera

    “Kate Royal delivered strong, communicative vocal work and a dimensional, believable character as Margaret Hughes, one of the first intrepid women to appear on stage after the edict.”
    Elaine Schmidt, Journal Senitel, 13 October 2018

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    09 Aug 16 BRITTEN A Midsummer Night's Dream
    Glyndebourne Festival Opera

    “The quartet of befuddled lovers– Kate Royal and Elizabeth DeShong as Helena and Hermia, Benjamin Hulett and Duncan Rock as Lysander and Demetrius – were perfectly matched and a delight.”
    Rupert Christiansen, The Telegraph

    “Kate Royal… played up the humour of Helena’s indignant rage nicely.”
    Mark Pullinger, Bachtrack

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    05 Jul 15 BRITTEN The Rape of Lucretia
    Glyndebourne Festival Opera

    “Allan Clayton and Kate Royal make the dilemmas of the Chorus vivid through eloquent declamatory singing – every syllable lucid, every phrase etched”
    Rupert Christiansen, The Telegraph, 6 July 2015

    “Allan Clayton and Kate Royal have the measure of the Male and Female Chorus, articulating their concerns with direct engagement.”
    George Hall, The Guardian, 7 July 2015

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    07 May 15 DEBUSSY and Ravel La damoiselle élue' and'l'enfant et les sortilèges
    Chicago Symphony Orchestra

    “Debussy’s meandering vocal part for the title damozel is difficult to shape, yet soprano Kate Royal was strongly anchored by the apt match of her timbre to the character. The bright tone quality of her voice captured the girl’s youth and solation from her beloved and the world.” John Y Lawrence, Chicago Classical Review, 8 May 2015

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    29 Aug 14 MAHLER Symphony No. 2 'Resurrection'
    Royal Albert Hall

    “Kate Royal was the sumptuous-sounding soprano.”
    The Guardian, Tim Ashley, 31 August 2014

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    22 Jul 14 STRAUSS Der Rosenkavalier
    Royal Albert Hall

    “One of the benefits of a concert performance – with the lights up – is the chance to follow Hugo von Hofmannstahl’s text closely. Kate Royal’s Marschallin was a revelation in this and other respects. Over the Glyndebourne run, she has grown into the great role, delivering the Marschallin’s idiomatic German with a fresh, creamy tone and a Straussian poise that mark this as a signature role for her career. The wry final-act confession of prejudice against men was a moment to treasure.”
    Martin Kettle, The Guardian, 23 July 2014

    “Kate Royal made her journey from saucy to imperious as the Marschallin, anchoring the bittersweet centre of the piece”
    Kimon Daltas, The Arts Desk, 23 July

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    17 May 14 STRAUSS Der Rosenkavalier
    Glyndebourne Festival Opera

    “…the most graceful of Marschallins: in silk-smooth voice, she sang with tender attention to the text and a mixture of warmth and dignity that made the final renunciation sharply moving: her wryly regretful and slightly cross “Ja, ja” spoke volumes and brought a lump to my throat.”
    Rupert Christiansen, The Telegraph, 18 May 2014

    “Kate Royal, an unusually slim, young Marie-Thérèse, copes bravely and convincingly with the production’s unconventional demands”
    Andrew Clark, Financial Times, 18 May 2014

    “Kate Royal truly held her own, vocally (she’s sounding lovely) and dramatically, at the centre of things, asserting her sexuality and projecting an intelligent “knowingness” through her words. Her reasoning and philosophising rang so true in the latter part of the first act where the march of time and the inherent loneliness of her marriage once more begin to darken her mood. When she and Octavian are at opposite ends of the elongated sofa it is Siberia between them, a passing fancy, no future; on that same sofa the Marschallin curls up in the foetal position alone at the close of the act. A beautiful and moving moment.”
    Edward Seckerson, The Review, 18th May 2014

    “one of the show’s wonders is Royal’s transformation into powdered, duty-bound grande dame — and, though her voice is light for Act III, she sings touchingly, pensively and with real musicality too.”
    Richard Morrison, The Times, 19 May 2014

    “Kate Royal, on the other hand, is set fair to become the Marschallin of our time. Her regal physical presence is extraordinary, her great first-act aria was spellbinding.”
    Mark Valencia, Whats On Stage, 19 May 2014

    “Kate Royal was singing her first Marschallin (and she will probably never again be asked to articulate ‘Beklagt er sich?’ in quite the same costume and attitude!) Act One lies low for any Marschallin, and her voice took time to warm up and become expressive, but by the middle of Act One I had decided: she has it in her to become one of the great Marschallins of our time. She looks magnificent —regal, disdainfully amused, totally in control of her body movement and her effect on others —and she began to sound in wonderful voice, never afraid to sing quietly in the key passages that demand it, but with instant variation in tone and dynamic to complement Strauss’s ever-changing orchestral textures. Her appearance and demeanour in Act Three, and her vocal line in the trio, were all wonderfully expressive and totally believable: she has the physique du role and as she sings her way into the remaining performances of the run, she will become ever more confident and commanding.”
    Michael Reynolds, Musical Criticism, 23 May 2014

    “Royal is restrained rather than voluptuous in the role, but she is poised, accurate and always a rewarding performer.”
    Fiona Maddocks, The Observer, 25th May 2014

    “Kate Royal’s Marschallin unites fabulous beauty, dignity and elegant singing to provide a characterization at once admirable and affecting; she could not fail to bring tears to the most curmudgeonly of eyes at ‘Euer Liebden Kavalier vorfahren…’”
    Melanie Eskenazi, Music OMH, 25 May 2014

    “Kate Royal’s Marschallin is magnificent. A quiet stillness and the depth of emotion in her voice lend her a remarkable stage presence and create a huge musical impact.”
    Howard Shepherdson, Limelight, 26 May 2014

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    01 Apr 12 A Lesson in Love - a story through Song
    Alte Oper Frankfurt

    “Ihre Interpretation hat die Essenz aus den Liedern gelockt. Sehr eindrücklich war, wie Royal am Anfang als Neugierige, Freudig-Naive das Lied “Waitin” von William Bolcom sang, und wie sie es am Schluss noch einmal sang: schmerzlich, gezeichnet von der Liebes- und Verlusterfahrung.”
    Martha Schmidt, 13 April 2013

    “Mit virtuoser Leichtigkeit gelingt Kate Royal und ihrem Begleiter Malcolm Martineau das Kunststück, die in Stil und Ton höchst unterschiedlichen Miniaturen klanglich zu entfalten und ihren intensiven Gefühlswerten Ausdruck zu verleihen. Dabei steht die klangschöne, höhensichere und modulationsreiche Stimme der Sängerin stets im Dienst der Werke. Die hohe Artikulationskunst, in der sie sehr unterschiedliche Texte geschmeidig mit ihrem Gesang verbindet, macht aus ihrem Vortrag ein dramatisches Geschehen.”
    Eche Feuilleton, Rotraut Fischer, 13. April 2012

    “Bolcoms “Waitin” aus seinen “Carbaret Songs” hatte auch den Abend eröffnet: eine zarte, etwas sentimentale Eloge des Wartens, für die sich Kate Royals runder, sublim artikulierender Sopran besonders gut eignet. Alles, was in einer gleitenden, gefassten und ruhigen Art sich klanglich entwickelt, wie etwa in Henri Duparcs “Extase”, schien wie geschaffen für Royals Intonation. Der Satz “Auf einer blassen Lilie schläft mein Herz” konnte als verbale Marke dieses Stimmcharakters gelten.
    Ohne Registerbruch wurden aber auch heftige Bewegungszüge leichthändig bewältigt im Verein mit treffenden mimischen Korrespondenzen, denen das höchst aufmerksame Klavierspiel Malcolm Martineaus wie angegossen war.”
    Frankfurter Rundschau, 12 April 2012, Bernard Ukse

    “Dass sich Lieder wie Claude Debussys “Erscheinung” (“Apparition”) und Hugo Wolfs “O wär’ ich Dein Haus” bruchlos aneinanderfügten, war der großen stilistischen Flexibilität und der starken Wandlungsfähigkeit zu verdanken. […] Kate Royals exakte Diktion, ihr feines, sauberes Legato prägten Lieder von Ravel, Fauve und Duparc. Kokett-pointiert sang sie vom Verrat in Schuberts “Die Männer sind méchant”, noch im Fahlen farbig bei Jean Sibelius: “Wär es ein Traum?” Die Spannung ließ keinen Augenblick nach.”
    Offenbach Post, 12 April 2012

    “Sie sprühte … voller positiver Energie und wirkte in der Tat wie ein verliebtes junges Mädchen, das seine Gefühle nur schwer unter Kontrolle halten kann, weil alles nach draußen drängt. So gab es manches Highlight zu erleben, allen voran Claude Debussys “Apparition” und Aaron Coplands “Pastorale”. … Wobei sie sämtliche Lieder ohne vor sich liegendes Notenmaterial vortrug und nonstop von einem zum nächsten lied wechselte. Dieses schnelle Wechseln zwischen den Stimmungen, zwischen intimen, tief im Innern berührenden Liedern (wie das zu Beginn und Ende stehende “Waiting” von William Bolcom oder Maurice Ravels “Chanson de la mariée”) und ariosen Liedern mit nahezu dramatischen Ausbrüchen (wie “Hugo Wolfs “Erstes Liebeslied eines Mädchens” und Amy Beachs “Ah, Love, but a day!”), muss man ihr in dieser Form erst einmal nachmachen. Ihr heiteres Talent zeigte sie bei dem mit charmantem Witz vorgetragenen “Tchut, tchut” von Joseph Chanteloube. … esonders berührend gestaltete sie vom Gesanglichen und vom Ausdruck her Schuberts “Du liebst mich nicht”, aber auch Reynaldo Hahns “Infidélté” und Aaron Coplands “Heart, we will forget him!”., Markus Gründig, 10 April 2012



Fidelio (Marzelline)

Carmen (Frasquita)

Peter Grimes (Ellen Orford)
The Turn of the Screw (Governess)

Pellleas et Melisandre (Melisande)

Rusalka (Rusalka)

Alcina (Alcina)

Jenufa (Jenufa)

La Clemenza di tito (Vitella)
Le nozze di Figaro (Countess)

The Bartered Bride (Marenka)

Der Rosenkavalier (Marschallin)


Please contact Kate Baylis or Vincent Turp for full concert repertoire.


Facing the music
The Guardian, 1 August 2016

Q&A: Kate Royal
Music OMH, 24 June 2014

Interview: soprano Kate Royal in ‘Der Rosenkavalier’
Andrew Clark, Financial Times, 25th April 2014

Richard Morrison meets Kate Royal at Glyndebourne
Richard Morrison, The Times, 8 May 2014