BiographyCanadian 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 Hänsel in Hänsel und Gretel and 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.
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