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Canadian mezzo-soprano Kady Evanyshyn has been hailed by the New York Classical Review for her “lovely, dramatic voice”, and by Musical America for her “delectable” musical interpretations. Opera News described her as an “expressive mezzo” that “created a likeable Annio” in Aspen Opera Center’s performance of La clemenza di Tito.

Kady was a member of the Opera Studio at Staatsoper Hamburg until last season, performing roles such as Glascha/Kát’a Kabanová, Zweite Dame/Die Zauberflöte, Sandmännchen/Hänsel und Gretel, Kate Pinkerton/Madama Butterfly,  Zaide/Il Turco in Italia, Laura/Luisa Miller, Page/Rigoletto, 2.Magd in a new production of Elektra by Dmitri Tcherniakov, Un Pastore/Tosca and Agnes in Unseres kleines Scheisskaff – Fucking Åmål. This summer, she gave her role debut as Hänsel in Humperdinck's Hänsel und Gretel at the Verbier Festival as part of the Atelier Lyrique and her debut at the Bregenzer Festspiele in Haydn’s Theresienmesse.

In 2022-23, Kady will join the main ensemble at Staatsoper Hamburg. Next to reprising her roles in Unseres kleines Scheisskaff – Fucking Åmål, Die Zauberflöte and Elektra she give role debuts as Siebel in Gounod’s Faust and as Suor Dolcina in Il Trittico, as well as appear as Amore and La Fama in the world premiere of Salvatore Sciarrino’s new opera Venere e Adone, conducted by Kent Nagano.

During her studies, Kady performed Celia in Haydn’s La fedeltà premiata, Mrs Grose/Turn of the Screw, Frau Reich/Die Lustigen Weiber von Windsor, La Tasse Chinoise/L’enfant et les sortilèges with Emmanuel Villaume in Alice Tully Hall, and Second Woman in Mary Birnbaum’s production of Dido and Aeneas at The Juilliard School, London’s Opera Holland Park and Opéra Royal de Versailles.

On the concert platform, she has appeared in works by Monteverdi with the Juilliard 415 ensemble and William Christie, Bach’s Ich habe genug, BWV 82, conducted by Simone Dinnerstein, in New York, Saint-Saëns’ Oratorio de Noel as well as Bartok’s Drei Dorfszenen, conducted by Kent Nagano.

Contemporary music has been a strong focus of Kady’s career so far. She has premiered Bruce Adolphe's I saw how fragile and infinitely precious the world is for mezzo-soprano, cello and pre-recorded electronics at the Off the Hook Summerfest in Fort Collins, CO in 2018, also presented at the Goddard Space Flight Center in Washington, D.C, sang the world premiere of Stefano Gervasoni’s Drei Grabschriften with Focus Festival, and performed the role of Claire in Jennifer Higdon’s Cold Mountain at Music Academy of the West. In 2019, she workshopped and performed Stefan Schäfer’s Es war einmal in Hamburg. Other recent highlights include Berio’s Folk Songs with AXIOM in Alice Tully Hall, conducted by Jeffrey Milarsky, Druckman’s Animus II for Juilliard ChamberFest, and Edgar David Grana’s Tashi Tibet at the National Opera Center. In previous seasons Kady has worked with ensembles such as the Kronos Quartet and the ÆON Music Ensemble.

A passionate and curious recitalist, Kady was invited to partake in the 2020 Weill Institute Song Studio with Renée Fleming at Carnegie Hall, which culminated in a recital and her hall debut. She was an encouragement prizewinner at the 2017 Gerda Lissner Lieder/Song Competition.

Kady earned her Bachelor’s and Master’s of Music from The Juilliard School, where she studied with Edith Wiens. During her time at Juilliard, she was awarded both the John Erskine Prize for exceptional scholastic and artistic achievement and the Novick Career Advancement Grant. She is a proud alumnus of the Aspen Music Festival (New Horizons Fellow), Houston Grand Opera’s Young Artists Vocal Academy, Music Academy of the West and Classic Lyric Arts. Born in Winnipeg, Manitoba, she has received support from the Manitoba Arts Council and the Sylva Gelber Music Foundation.
BolcomThe WeddingDiana
BrittenThe Turn of the ScrewMrs. Grose
BrittenAlbert HerringNancy (scenes)
DonizettiAnna BolenaSmeton (scenes)
HaydnLa fedelta premiataCelia, Fillide
Higdon, JenniferCold MountainRuby, Claire
HumperdinckHänsel und GretelHänsel, Sandmann
JanacekKatia KabanovaGláša, Fekluša
MozartDie ZauberflöteZweite Dame
MozartLa Clemenza di TitoAnnio
MozartLe nozze di FigaroCherubino
MozartCosi fan tutteDorabella (scenes)
NicolaiDie lustigen Weiber von WindsorFrau Reich
PucciniMadama ButterflyKate Pinkerton
PurcellDido and AeneasDido, Second Woman
RameauHippolyte et AriciePhèdre
RavelL'enfant et les sortilègesL'enfant, La Tasse Chinoise, La Libellule
RossiniIl Turco in ItaliaZaida
WagnerParsifalZweiter Knappe
Adolphe, BruceI saw how fragile and infinitely precious the world is (World premiere)
Adrian-RamosCinco canciones (World premiere)
BachAm Abend aber desselbigen Sabbats, BWV 42
BachIch habe genug, BWV 82
BachEs ist euch gut, dass ich hingehe BWV 108
BachMagnificat BWV 243
BerioFolk Songs
BrahmsZwei Gesänge für eine Altstimme
CrumbMadrigals, Book 1
DruckmanAnimus II
MozartGrosse Messe in c-Moll
Saint-Saëns Oratorio de Noël
Schäfer, StefanEs war einmal
Wang, Anne QianLethal (World premiere)
BolcomCabaret Songs
BrahmsBotschaft op47
BrahmsMeerfahrt op 96
BrahmsNachtigall op 97
BrahmsVon ewiger Liebe op 43
BrittenA Charm of Lullabies
BrittenTell me the truth about love (Cabaret Songs)
BrittenJohnny (Cabaret Songs)
BrittenCradle Song (Sleep, my Darling, sleep)
CanteloubeLou Boussou (Chants d'Auvergene)
CanteloubeOi ayai (Chants d'Auvergne)
CrumbThe Sleeper
DebussyChansons de Bilitis
FauréL'horizon chimérique
HahnDans la nuit
HahnÁ Chloris
HahnL'heure exquise
HahnSi mes vers avaient des ailes
HahnFetes galantes
HahnQuand je fus pris au pavillion
HoneggerJeanne (Petit cours de morale)
HoneggerAdèle (Petit cours de morale)
HoneggerRosemonde (Petit cours de morales)
MussorgskyThe Nursery
PoulencDeux Poèmes de Louis Aragon
SchubertDie Sterne D939
SchubertDie Mutter Erde
SchubertDie Liebe hat gelogen
SchubertAn Sylvia
SchubertAriette aus Rosamunde
SchubertRastlose Liebe
SchubertAn den Mond D193
SchubertAuflösung D807
SchubertSuleika I D720
SchubertDer Wanderer D489
SchubertDer Tod und das Mädchen D531
SchubertHeimliches Lieben D922
SchubertNacht und Träume D827
SchubertAn die untergehende Sonne D457
SchubertAn die Musik D547
SchumannFrauenliebe und -leben
StraussDie Georgine
StraussDu meines Herzens Krönelein
StraussLob des Leidens
Weir, JudithThe Voice of Desire

KADY EVANYSHYN: J. Massenet, Werther qui m'aurait dit la place (Werther)

S. Barber, Must the winter come so soon (Vanessa)

"[...] und Kady Evanyshin, Mezzosopran, als Agnes überzeugen in den Hauptrollen mit klangschönem, durchsetzungsfähigem Stimmmaterial und wunderbarer Spielfreude [...].
Opernglas, Penderbayne, Fucking Åmål – Staatsoper Hamburg, March 2022
"Wie Agnes klagt, dass sie sich nicht gesehen fühlt, gehört zu den schönsten Momenten, von Penderbayne ebenso hinreißend komponiert wie von Kady Evanyshyn gesungen."
abendblatt.de, Penderbayne, Fucking Åmål – Staatsoper Hamburg, February 2022
"Eindrucksvoll vermittelt wird die Erfahrung, anders zu sein in der Enge einer Dorfgemeinschaft, durch die wunderbare Leistung der kanadischen Darstellerin Kady Evanyshyn, die all die Verzweiflung und, irgendwann, die Wut der erst so schüchternen Protagonistin Agnes auf die Bühne bringt."
taz, Penderbayne, Fucking Åmål – Staatsoper Hamburg, January 2022
“Bach is always emotional. But at this particularly unsettled moment, hearing the cantata “Ich habe genug” — about someone who, having experienced her savior’s embrace, no longer feels part of this troubled world — sung by the mezzo-soprano Kady Evanyshyn was overwhelming.”
New York Times, Bach, Ich habe genug BWV 82 - New York, March 2021
"Evanyshyn employed a honeyed lyricism in appealing to the titular flower, nicely shaping her phrases as her words revealed her own sorrows. Her second selection, Stravinsky’s “A Song of the Dew,” saw her use a delicate, calling quality which which worked wonderfully with the evocative natural imagery of the text and the thoughtful arpeggios from the accompaniment. Her phrases took on a more staccato quality as she listed off precious memories, before the sudden ceasing of colors from the accompaniment saw her return for a polished, lyrical conclusion.”
operawire.com, SongStudio (Carnegie Hall) , January 2020
"Kady Evanyshyn [...] as Meg Page, singing with a plush, buoyant mezzo."
Opera News, O. Nicolai, Die Lustigen Weiber von Windsor - Juilliard Opera, February 2018
"Soprano Christine Taylor Price and mezzo Kady Evanyshyn showed a fearless attitude toward the opera's high-flying, heavily ornamented arias, which use some of the same fioratura style that adorned Italian buffo comedies. The two of them singing together in a complex duet was one of the delights of the first act."
Superconductor, O. Nicolai, Die Lustigen Weiber von Windsor - Juilliard Opera, February 2018
"Tenor Matthew Pearce and mezzo Kady Evanyshyn were quite amusing, playing off each other very nicely as the Teapot and Chinese cup."
Broadway World, M.Ravel, L'enfant et les sortilèges - Lincoln Center New York, December 2017

"Kady Evanyshyn sang with a lovely, dramatic voice...With colorful, sensitive, delicate accompaniment from the ensemble, conducted by Jeffrey Milarsky, Evanyshyn had the spirit of the music in her, from extremes of delicacy to vivacious extroversion in 'Ballo' and 'Lo fiolaire.' "
New York Classical Review, L.Berio, AXIOM - Lincoln Center, New York, December 2017
"Evanyshyn was delectable in 'A la femminisca ("To Women") with its yodel-like strains, and equally impressive in the rapid-fire "La-la-la" syllables of "Ballo" ("Dance")."
Musical America, L.Berio, AXIOM - Lincoln Center, New York, December 2017
"Returning for her second summer in Aspen, Kady Evanyshyn created a likable Annio that meshed well with her cast-mates. Her expressive mezzo was heard to full effect in the pleading arias “Tu fosti tradito” and “Torna di Tito a lato.”
Opera News, W.A. Mozart, La Clemenza di Tito - Aspen Music Festival, August 2017
"The cast not only traced their own characters with appropriate color, they all interacted like real people... Soprano Hayan Kim, as Servilia, Sesto's sister, and soprano Kady Evanyshyn, as Annio, her boyfriend, brought silvery tone and youthful presence to their assignments."
Aspen Time, W.A. Mozart, La Clemenza di Tito - Aspen Music Festival, August 2017
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