Kitty Whately

Kitty Whately


Representation: General Management

Photo: Natalie J Watts


Kitty studied at the Guildhall School of Music and Drama and the Royal College of Music International Opera School.     She is a passionate interpreter of song and has given many recitals including the Wigmore Hall, the Edinburgh Festival and the Oxford and Leeds Lieder Festivals.   She was a winner of the Kathleen Ferrier Award and the 59th Overseas League,   and a BBC New Generation Artist, during which time she made her debut album ‘This Other Eden’.   She has worked with many of the UK orchestras, the Aix en Provence Festival and with Opera Holland Park and the Opéra National de Lorraine.


Full Biography

Kitty Whately trained at Chetham’s School of Music, the Guildhall School of Music and Drama, and the Royal College of Music International Opera School.  She won both the Kathleen Ferrier Award and the 59th Royal Overseas League Award in the same year, and was part of the prestigious Verbier Festival Academy where she appeared as Cherubino in Le Nozze di Figaro and in Beethoven’s Choral Fantasy.  Kitty was a BBC New Generation Artist from 2013-15, during which time she recorded her debut solo album This Other Eden, made recordings with the BBC orchestras, commissioned a new song cycle and made several appearances at the Proms.

Opera highlights include Mother/Other Mother in Mark-Anthony Turnage’s latest opera Coraline at the Barbican, produced by the Royal Opera House, Dorabella Così fan tutte for Opera Holland Park, Nancy Albert Herring for The Grange Festival in the festival’s debut season, as Hermia A Midsummer Night’s Dream with the Aix-en-Provence Festival and in Beijing; the world premiere of Vasco Mendonça’s The House Taken Over directed by Katie Mitchell, with performances in Antwerp, Strasbourg, Luxembourg, Bruges and Lisbon; Rosina Il barbiere di Siviglia and Stewardess in Jonathan Dove’s Flight (Opera Holland Park); Hermia A Midsummer Night’s Dream (Bergen National Opera); Kate Owen Wingrave (Opéra National de Lorraine); Dorabella Cosi fan tutte (English Touring Opera) and Ippolita / Pallade in Cavalli’s Elena in Montpellier and Versailles for the Aix-en-Provence Festival.

Kitty is in high demand as a recitalist and concert artist. In her 2017-18 season she sang Mendelssohn’s A Midsummer Night’s Dream with the Berlin Philharmonic Orchestra, as well as a recital alongside Malcolm Martineau at the Royal Conservatoire of Scotland. Further concert performances include the premiere of a new work by Sally Beamish at the Three Choirs Festival; a recital at the Oxford Lieder Festival, and stepping in at the last minute to give an acclaimed recital at Wigmore Hall. She has given performances with most of the UK’s major orchestras, including Duruflé’s Requiem and Mozart’s Requiem (in Oslo with the Dunedin Consort and Royal Philharmonic Orchestra), Bach’s B Minor Mass (Royal Northern Sinfonia and Scottish Chamber Orchestra), Beethoven’s Mass in C Major (Philharmonia Orchestra), Haydn’s Nelson Mass (Britten Sinfonia on tour in Spain and the Netherlands), Bach’s Magnificat (Britten Sinfonia and Choir of King’s College Cambridge), Elgar Dream of Gerontius at St John’s Smith Square and Handel Messiah at the Royal Albert Hall. Kitty has given recitals at the Edinburgh International Festival, Oxford Lieder, Leeds Lieder and Buxton festivals, working regularly with renowned accompanists Simon lepper, Roger Vignoles, Graham Johnson, Malcolm Martineau, Gary Matthewman, James Baillieu and Joseph Middleton.

Kitty made her BBC Proms debut in Sir Peter Maxwell Davies’ Suite from Act II of Caroline Mathilde, and also appeared in a Chamber Music Prom singing the music of Stephen Sondheim, and as Nancy in a concert performance of Britten’s Albert Herring. Her frequent performances with the BBC orchestras include De Falla’s The Three Cornered Hat (BBC National Orchestra of Wales) as well as recordings of Ravel’s Sheherezade with BBC Philharmonic Orchestra, Canteloube’s Songs of the Auvergne with BBC Scottish Symphony Orchestra, and songs by Rodgers & Hammerstein, Jerome Kern and Cole Porter with BBC Concert Orchestra.

Last season, Kitty released her second album, Nights not spent alone, to critical acclaim. Recorded in a co-production between Champs Hill Records and the BBC, and accompanied by distinguished pianist Simon Lepper, the disc presents complete works for mezzo-soprano by Jonathan Dove. It includes a song cycle of the same name dedicated to Kitty, which she premiered at the Cheltenham Music Festival in 2015.

In the season 2018-19, Kitty sings Paquette in Bernstein’s Candide at Bergen National Opera following a concert performance of the role at The Grange Festival. Further operatic engagements include Isabella Wuthering Heights Opera National de Lorraine, Nancy. As a regular recitalist, concerts include a BBC Radio 3 recital as part of the NI Opera Festival in Belfast with pianist Simon Lepper, with whom she will also perform with at the Wigmore Hall, Mahler Das Lied von der Erde at the Mizmorim Festival, Basel, The Dream of Gerontius with Crouch End Festival Chorus, and performances of works by Jonathan Dove from her most recent disc Nights not Spent Alone at the Salisbury International Arts Festival.

Artist Website:

Promoters please note: if you wish to include this biography in a concert programme etc, please contact Hazard Chase to ensure that you receive the most up to date version.
Email: Tom Wood



Oxford Lieder Festival 2018

October 5th, 2018

Hazard Chase artists join award winning festival

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Summer Opera 2018

May 31st, 2018

Hazard Chase artists in the 2018 summer opera festival season

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Kitty Whately in world première

March 29th, 2018

Mark-Anthony Turnage’s new opera at the Barbican

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Concerts across the Easter Period

March 23rd, 2018

Hazard Chase artists performing across Holy Week and Easter

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Albert Herring at The Grange Festival

June 23rd, 2017

John Copley directs and Adrian Thompson and Kitty Whately are in the cast of this new production

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Mozart COSI FAN TUTTE (Opera Holland Park)

‘Kitty Whately’s Dorabella was a strong contrast – bubbling with personality and fully mistress of both the melodramatics of “Smanie implacabili” and the insouciance of “E amore un ladroncello”.’
Rupert Christiansen, The Telegraph (June 2018)

‘Kitty Whately likewise proved almost infinitely capable both of sisterly affinity and dramatic disentanglement. So many attributes – sorrow and joy, honour and temptation, simplicity and complexity – were revealed as sides of the same experimental coin. Lines, unadorned or subtly ornamented, exuded both clarity and warmth.’
Mark Berry, Opera Today (June 2018)

‘As the two sisters Eleanor Dennis and Kitty Whately ideally complemented and blended with each other. […] Whately’s richly textured mezzo encompassed the playfulness and fallibility of the younger sister.’
John Johnston, Bachtrack (June 2018)

‘The sisters – Eleanor Dennis’s Fiordiligi, Kitty Whately’s Dorabella – flounce and purr as Georgian belles who could have stepped from a Gainsborough frame. […] Kitty Whately’s Dorabella finds rich hues of perplexity and darkness in the (supposedly) flightier sister’s role.’
Boyd Tonkin, The Arts Desk (June 2018)

‘Whately’s mezzo is more quicksilver, with its attractive vibrato and general deftness, matching her more mercurial portrayal.’
Francis Muzzo, Opera Now (July/August 2018)


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Mark-Anthony Turnage – CORALINE (Royal Opera House, Barbican Theatre)

‘Kitty Whately acted it all out to perfection on stage. […] all eyes were, as they should be, on Whately, a charismatic presence as both “good” and “bad” mums.’
David Nice, The Arts Desk (5 April 2018)

‘Kitty Whately is excellent as the mother and her mirror counterpart’
Richard Fairman Financial Times (1 April 2018)

‘Kitty Whately stands out as Coraline’s real and mirror-world mother.’
Rupert Christiansen, The Telegraph (31 March 2018)

‘Most aptly representative of these opposing worlds is Kitty Whately as the Mother/Other Mother. Starting the opera as a patronising woman with a purposely restricted use of volume, abruptly she becomes almost unrecognisable when she embodies the deceptive Other Mother. Whately uses creepy false smiles, gradual and unexpected slow crescendos, and a jagged body language to display a bloodthirsty, unstable woman.’
Sophia Lambton, Broadway World (30 March 2018)

‘mezzo-soprano Kitty Whately is excellent in the dual role of Coraline’s mother and her increasingly psychopathic alternate version, Other Mother.’
Andrzej Lukowski, Time Out (30 April 2018)


Handel – GIULIO CESARE (English Touring Opera)

‘Kitty Whately’s sparky, pugnacious Sesto was a joy throughout’
Hugh Canning, Opera Magazine (December 2017)

‘Kitty Whately is outstanding’
George Hall, The Stage (5 October 2017)

‘Kitty Whately gives impassioned accounts of Sesto’s magnificent “Cara speme” and “L’Angue offeso”.’
The Telegraph, Rupert Christiansen, (6 October 2017)

‘Whately admirably conveys the vulnerability that lurks behind Sesto’s bravado.’
Tim Ashley, The Guardian, (9 October 2017)

Albert Herring, The Grange Festival

“the young leads were even better. I’ve rarely seen a more convincing ‘romantic’ pair than Kitty Whately’s succulently sung Nancy and Timonthy Nelson’s Hunky Sid. There was an erotic charge in their every encounter”
Hugh Canning, Opera Magazine, (August 2017)

Kitty Whately & Joseph Middleton (Wigmore Hall)

“Two years on [from my last review] the timbre is just as lustrous, but stronger and more uniform. In a programme comprising English 20th-century songs (apart from one Poulenc ditty and an early Stanford), she brought a beautifully warm legato to such cherished miniatures as Vaughan Williams’s Silent Noon, Warlock’s My Own Country and Ivor Gurney’s Down By the Salley Gardens… Whately was mesmerising here.”
Richard Morrison, Financial Times (Apr 2017)

“This was a chance to experience again Kitty Whately’s winning combination of rich, even tone, superb diction and feel for the words. Each song was projected with a feeling of character and clear sense of the emotional narrative, with pianist Joseph Middleton forming a strongly characterful partner”
Planet Hugill (Apr 2017)

Mendelssohn COMPLETE SONGS, VOL. 2 (Champs Hill Records)

“The most palpable sense of delight rises from the voice of Kitty Whately whose feisty mezzo is entrusted with three impassioned songs by Mendelssohn’s sister, Fanny.”
Hilary Finch, BBC Music Magazine (October 2016)

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Discography & Repertoire

Mendelssohn COMPLETE SONGS, VOL. 2

Malcolm Martineau (piano) with a line-up of singers including Kitty Whately, (mezzo), Paula Murrihy (mezzo), Sophie Bevan (soprano) and Benjamin Appl (baritone)

Champs Hill Records (2016)


A landscape of english poetry & song with Kitty Whately (mezzo soprano), Joseph Middleton (piano ) and the Navarra Quartet


Artist Manager

Sue Nicholls (Cambridge)
01223 706023

Associate Artist Manager

Tom Wood (Cambridge)
01223 706416