Kate Lindsey: Opera, Life and the Moments in Between.

The celebrated mezzo-soprano in a personal interview.

November 2025 - In an exclusive conversation with Brigitte Ulbrich, the internationally acclaimed mezzo-soprano Kate Lindsey opens a window into her artistic world. From the physical presence on stage to the intimacy of breath and the healing power of music, she shares how music is not only about technique but also about soul. This interview follows her concert performances of Mozart’s Nächte with Concentus Musicus in November 2025 and comes just ahead of her December appearances in Washington Concert Opera and Vienna.


On a quiet afternoon over Zoom, Lindsey welcomed me into her seaside home on the southern coast of England. Right away, it was clear that we are entering a relaxed and open dialogue. 

“I live down on the southern coast of England. So we're right by the seaside and it's very lovely. It's a bit of a grey day today, but we live in a house that looks over the sea, up on a hill. So it's a nice place. This is my music room. I work at my piano over there and it's a nice room, a nice space where I can study and hopefully try to get a little bit focused for all of the repertoire that I have to learn.”

"I always love to feel cosy in my room."

Even in this space, her desire for comfort and ease is tangible. “I probably don't think so much about it, but I suppose I'm trying to find the place of... I always love to feel cozy. I like to feel good in a space. I like that my body feels relaxed,” she explains. Her approach shapes the atmosphere not just for herself, but also for colleagues and students: music-making should remain calm and unpressured.

"I love nature a lot, going for walk."
Kate reflects honestly, here with a touch of humorous approach, that especially, when it comes to even more tricky or complex performances e.g. in opera. She says, she never loses control over her emotions, trying to take a small step aside, keeping a distance to the role while diving deep into the music, role-character and true feeling it transports. Nevertheless she finds herself “in longer and more frequent walks in parks during these times.

“You have to feel free in your body to connect.”

"Breath is central for this presence."
The breath is the foundation. When she works with her students or on stage. It's about the natural flow of breathing. “You have to feel free in your body to connect.” Fear or tension closes the breath and the muscles.  Being relaxed allows you to connect with the moment, to perform without forcing, to feel supported by your own body.

What are Kate and Rolando laughing so much about?

As conversation went on, we started talking about insta stories and behind the scenes anecdotes. Both very much amused about scenes with other singers, experiences on stage, behind the scenes, backstage, with colleagues. Especially mentioned here opera-singer Rolando Villazòn, famous for his passionate stage presence and off, which amuses a lot.

So Kates engagement with her audience and colleagues also extends to lighter moments behind the scenes. She speaks fondly of the humor and playfulness that often fills backstage interactions. Colleagues like Rolando Villazón, she notes, bring so much laughter that it lightens the atmosphere and provides a welcome sense of relaxation. 

These scenes were recently shared on Instagram. Especially as someone who describes herself as a bit introverted, she values these moments of joy and camaraderie, which offer a refreshing balance to the intensity of performance. She responds warmly to this behind-the-scenes humor and jokes that we as the audience also enjoy: “I’m glad you enjoy them. It’s nice to have the feedback.”

Beyond the backstage fun and humour, Kate then reflects on profound connections that music creates with her colleagues and the orchestra. Rehearsals and performances “become moments of shared understanding, where non-verbal communication and mutual focus bring everyone together.”

Kate also emphasizes the special bond with the audience. When people leave their homes for an evening and put away their phones to fully experience a performance, there emerges a genuine human connection. “That is what I love about making music,” she says, underlining the unique way music can unite performers and listeners alik

Improvistation with Baptiste Trotignon

Improvisation also plays a role, so in collaborations. She describes her work with Baptiste Trotignon (a French jazz pianist): “… when I work with Baptiste Trotignon, for example, on Thousands of Miles - because we understand each other so well, there is space to play a little. 

I've learned that there is room for improvisation if you understand the form. Classical music provides structure, so freedom comes through knowing the boundaries. Working with him has given me more flexibility, even in pieces by Händel. The principles are similar to jazz: the bass maintains a certain tempo, and the rest follows. Both inform each other, and it expands my musical perspective.”

Upcoming concerts in Washington Opera, the Viennese Musikverein and Staatsoper Wien.

Kate spoke with visible excitement about her upcoming performances. In early December, she will return to work with the Tonkünstler Orchestra, performing Mozart's Requiem in Wiener Neustadt, followed by Zemlinsky's Six Songs. She began preparing the pieces in September and finds them harmonically fascinating and emotionally evocative. “These are symbolist poems, and much of the work is finding your own meaning in them. It is a beautiful exploration,” she notes.

“... there is so much fascination & emotional evocative moments in upcoming Orchestral Songs.” 

After Christmas, rehearsals for Idomeneo (State Opera Vienna, 16-01-2026) will begin. 
She has already started immersing herself in the music, focusing on both body and mind. “Learning music is a challenging process, but focusing and enjoying it makes it much easier. I feel a lot of joy for all that I get to do,” she reflects, capturing the dedication and passion that drives her artistry.

The interview took place following Lindsey’s recent performances with Concentus Musicus in Mozart's Nights in November. At that time, she had already been looking forward to her upcoming season. On November 23, 2025, she returned to the Washington Concert Opera in Gluck’s Iphigénie en Tauride, performing the title role alongside Theo Hoffman as Oreste and John Moore as Thoas. She spoke about the exciting opportunity to present this work in a concert performance.

In December, Lindsey continues her season with several performances in Austria and the U.S. On Tuesday, December 2, 2025, she appears in Thousands of Miles in New York, a collaboration with Baptiste Trotignon. On December 5, she performs Mozart’s Mass with the Tonkünstler Orchestra in Wiener Neustadt, followed by Zemlinsky’s Six Orchestral Songs on December 13, presented in Wiener Neustadt, St. Pölten, and the Musikverein Vienna. In mid-January, she performs in Idomeneo at the Staatsoper Wien from January 13 to 16, 2026. 

Beyond these performances, Lindsey’s season continues with appearances in major international venues, including London, Valencia, Pittsburgh, Hamburg, and Munich, reflecting her ongoing commitment to sharing music with audiences worldwide.