Kady Evanyshyn

General Management
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 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.