Iphigénie en Tauride, English Touring Opera
"…Carby sounds extraordinarily beautiful as her voice cleaves through Gluck’s soaring lines"
Tim Ashley, The Guardian, March 2016
“…And if you want to hear world-class singing, that’s what you’ll get from mezzo-soprano Catherine Carby in the title role..... Carby sails through her hugely demanding role with seemingly effortless grace”.
Michael Church, Independent.co.uk, March 2016
Partenope, Opera Australia
…Catherine Carby was as impressive – perhaps even more so – with her silken, sophisticated, confused Arsace. Carby is superb in trouser roles, taking on masculine qualities in subtle, interesting ways without a trace of strain”.
Deborah Jones, Opera Magazine, June 2011
Capuleti e i Montecchi, Opera Australia
Carby combined wonderfully flexible vocal expressiveness with a haughty stage swagger so that her pluck, statuesque carriage and fragility amid the realism of guns and knives created a genuine frisson.
Peter McCallum Sydney Morning Herald, August 2009
Don Giovanni, Opera Australia
…Catherine Carby’s Donna Elvira was the work’s most interesting character in her comic, self-humiliating obsession with Giovanni, and she rose to the challenge with humour and poignancy. Her beautifully phrased and coloured Act II aria, Mi tradi, was a musico-dramatic turning.
Peter McCallum, Sydney Morning Herald, July 2008
Currently residing in London, leading Australian mezzo soprano, Catherine Carby, has performed with major opera companies including the Royal Opera House, Covent Garden ( Elektra, Die Frau ohne Schatten and Dialogue of the Carmelites), English National Opera as Kate Pinkerton (Madame Butterfly), Scottish Opera as Octavian (Der Rosenkavalier), British Youth Opera in the title role of Britten's Rape of Lucretia at the Queen Elizabeth Hall (subsequently issued on CD), Opera Australia (including OzOpera), Victoria State Opera and Opera Queensland.
Recent engagements include a return to the Royal Opera House for Antonia’s mother (Tales of Hoffmann) and Octavian (Der Rosenkavalier), Xerxes (title role), Iphigenie en Tauride (title role) Rodrigo ( Pia di Tolomei, Donizetti) and Diana (La Calisto) for English Touring Opera, Haydn Paukenmesse with the Orchestra of the Age of Enlightenment and Elijah at the Hexham Festival. Other engagements include Nita, The Mountebanks with the BBC Concert Orchestra, Brangäne Tristan und Isolde at the Teatro Sao Carlos, Lisbon, and Katharina Schratt Mayerling for the Royal Ballet, London.
For Opera Australia Catherine has sung Octavian (Der Rosenkavalier), the title role in Carmen, Donna Elvira (Don Giovanni), Romeo (I Capuleti e i Montecchi), Hippolyta (A Midsummer Night’s Dream), Orlofsky (Die Fledermaus), Baba the Turk (The Rake’s Progress), for which she won a Helpmann Award, Mallika (Lakmé), Ruth (The Pirates of Penzance), Maddalena (Rigoletto), Cornelia (Giulio Cesare), for which she received a Green Room Award, Ruggiero (Alcina), Kristina (The Makropulos Affair), Heavenly Being and Madam By-Ends (The Pilgrim’s Progress), Suzuki (Madame Butterfly), Second Lady (Magic Flute) and Auntie (Peter Grimes).
International concert and recital engagements have included a Verdi concert with the Hallé Orchestra under Mark Elder, a solo recital at St James’ Piccadilly, Flora in Albinoni’s Il Nascimento dell’Aurora for Spitalfields Festival, concert performances of The Marriage of Figaro for London Mozart Players, Vitige in Flavio and the title role in Muzio Scevola for the London Handel Festival, Berlioz’s L’Enfance du Christ and Bach’s St Matthew Passion at Southwark Cathedral, Mahler's Das Lied von der Erde for Cambridge University Music and the Gardner Chamber Orchestra in Boston, Bach's B Minor Mass at Exeter Cathedral.
In Australasia, Catherine has also performed Nicklausse (The Tales of Hoffmann) for West Australian Opera, Mozart’s Requiem, Haydn's Nelson Mass and in the Superdome Spectacular with the Sydney Symphony Orchestra, Elgar's Sea Pictures with the Queensland and Melbourne Symphony Orchestras, Haydn’s Missa in Tempore Belli with the Tasmanian Symphony Orchestra, Haydn's Arianna auf Naxos with the New Zealand Symphony Orchestra, and at Opera Australia's New Year's Eve Gala Concert and Opera Under The Stars in Broome.
Since relocating to the United Kingdom to live Catherine’s roles have included Voice from Above (Die Frau ohne Schatten conducted by Semyon Bychkov), Sister Mathilde (Dialogue of the Carmelites with Sir Simon Rattle conducting), and 2nd Maid (Elektra) all at the Royal Opera House Covent Garden; Ramiro (La finta giardiniera ) for Buxton Festival; Arsace (Partenope) for Opera Australia for which she received a Green Room Award nomination, Romeo (I Capuleti e i Montechi) at Southbank Centre with Chelsea Opera Group; Aurelio (L’Assiedo di Calais) for English Touring Opera, and Brangäne (Tristan und Isolde) for Longborough Festival Opera. She has also covered significant roles including Sesto (La clemenza di Tito) for Opera North; and Brangane and Ariadne (Birtwistle’s The Minotaur) for the Royal Opera House.
Catherine’s concert appearances have included Octavian (Der Rosenkavalier) in concert performances with the West Australian Symphony Orchestra and Paul Daniel, an Opera Gala in the Théâtre de Vals les bains, Messiah for the Three Choirs Festival, Gloucester, Magnificat ( CPE Bach) with the Brighton Philharmonic Orchestra, Supernatural Songs (Taverner) with the City of London Sinfonia, Beethoven Symphony No. 9 with the Philharmonia Orchestra and the Ulster Orchestra and Mozart Mass in C for the Polski Chór Kameralny as well as an Opera Gala with the Royal Northern Sinfonia.
Catherine Carby studied at the Canberra School of Music and the Royal College of Music, London, and was a finalist in several major competitions including the Kathleen Ferrier Award, the Richard Tauber Award and the Young Concert Artists Trust.
Catherine Carby is managed by Graham Pushee: firstname.lastname@example.org
This biography is for general information purposes only and not for publication.
Please contact Arts Management for an up-to-date biography to suit your needs.