Opera | Kathryn Rudge

Reviews: Mozart’s ‘La Clemenza di Tito’ at Opera North

05/02/13
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Henry Waddington as Publio and Kathryn Rudge as Annio. Photo credit: Bill Cooper

Kathryn is currently performing in the role of Annio in Opera North’s new production of Mozart’s ‘La Clemenza di Tito’ directed by John Fulljames and Conducted by Dougie Boyd.

Here are some of the reviews:-

“For me the biggest news of the evening is young Liverpudlian soprano Kathryn Rudge as Annio: her cleanly produced tone, supple musical phrasing, and sensitive colouring of words combine with a vividly attractive stage personality to make something special. It was at Opera North that we first encountered Alice Coote: Kathryn Rudge has the same star potential.”

The Telegraph, Rupert Christiansen, 1^st February 2013

“Kathryn Rudge confirms her golden potential as a boyish Annio, the voice steadily gaining in colour”

The Times, Richard Morrison, 4^th February 2013

“The creamy-voiced mezzo Kathryn Rudge, sporting a short back and sides, in the smaller trouser role of Annio, friend of Sesto, drew arguably the loudest applause of the evening for her beguiling and utterly heartbreaking interpretation of Annio’s Act II aria “Tu fosti tradito” imploring Tito to show clemency to Sesto”.

Opera Britannia, Geoffrey Mogridge, 3^rd February, 2013

“The two trouser roles boast equally world-class performances……….Kathryn Rudge is an intense, compelling Annio, delivering oceans of beautifully-centred tone, not least in her Act 2 aria”

The Press, York, Martin Dreyer, 2^nd February 2013

“Rudge possessed a rich but never overbearing voice of great beauty” ‘Bachtrack. Sam Wigglesworth, 2^nd February, 2013

‘Kathryn Rudge in the castrato part of Annio sang faultlessly’

Seen and Heard, John Leeman, 4^th February 2013

Kathryn Rudge registers movingly as Sesto’s devoted friend Annio

The Stage, George Hall, 1^st February 2013

The Production took place at Leeds Grand Theatre and toured to Newcastle, Belfast, Manchester and Nottingham between February and March 2013.

REVIEWS: LE NOZZE DI FIGARO, GLYNDEBOURNE TOURING OPERA

03/01/13
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Le nozze di Figaro, Glyndebourne Tour 2012 Photographer credit: Bill Cooper

Photo Credit: Bill Cooper

Director Michael Grandage, Revival Director Ian Rutherford, Conductor Jonathan Cohen.

“The stand-out performance is Kathryn Rudge’s deeply felt, endearingly jittery Cherubino.”
***Financial Times, Hannah Nepil, Canterbury Marlowe Theatre, 21st November 2012.

“Cherubino’s hedonism was ferociously captured by Kathryn Rudge, who temporarily stole the show with her two arias”
Opera Magazine, 4th October 2012.

“Kathryn Rudge displays excellent talent, both for acting and singing, as the mischievous Cherubino.”
**** The Stage, William Hartson, 12th October 2012

“Kathryn Rudge …..a superb stage-stealing Cherubino (a woman playing a man who is later disguised as a woman!); ‘Non so più’ was ideally paced, without bluster and breathiness, deftly accompanied.”
Classical Source, Colin Anderson, 4th October 2012

“Two turns really stick out……… Kathryn Rudge’s Cherubino has a Norman Wisdom dumbness which is a different take on the lust-crazed male……….”
The London Evening Standard , Kieron Quirke, 7th November 2012

“Kathryn Rudge played the difficult role of Cherubino, doing well in the bit where she is a young man pretending to be a young woman.”
Mark Ronan, Theatre Reviews, 5th October 2012

“Kathryn Rudge brought us Cherubino and what an excellent job she did as the awkward and obsessed young man besotted by the Countess. She did the gender switches well.”
Maggie Constable, The Public Reviews, 27th November (Milton Keynes). The Public Reviews.

“Special mention must go to the pure-voiced Kathryn Rudge as Cherubino.”
Lichfield Live, Phil Preece, 7th December, Stoke-on-Trent

Reviews: Handel’s Giulio Cesare – Opera North

26/02/12
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Reviews Handel’s ‘Giulio Cesare’ – Opera North (Jan – March 2012)

DIRECTOR: TIM ALBERY CONDUCTOR: ROB HOWARTH

The Guardian

****”Kathryn Rudge’s Sesto……suggests that she has everything required of an exciting young mezzo: tone, technique and absolute conviction in a pair of trousers.”

15th January 2012, Alfred Hickling

Opera Brittania

“The promising young mezzo Kathryn Rudge made a fine Sesto and displayed a beautifully plush timbre and an interesting variety of tonal colours and shading. Her “Cara speme” was sung with great finesse and was one of the musical highlights of the evening for me – particularly her gorgeous messa di voce at the start of the da capo.”

16th January, 2012, Faye Courtney

**** Bachtrack

“The standout performances of the night, however, were given by Kathryn Rudge as the murdered Pompeo’s grieving son Sesto and Sarah Tynan as Cleopatra. Rudge sang her arias and duets with great technical skill and passion. She has a rich, creamy mezzo voice perfectly suited to the trouser roles she has received acclaim for (she made her professional debut as Cherubino for ENO) and from the very beginning of the performance she was an audience favourite, receiving warm applause at the end of everything she sang.”

16th January, 2012, Laura Jane Wilson

The Arts Desk

“The most impressive singing comes from Ann Taylor and Kathryn Rudge as Cornelia and Sesto, the murdered Pompeo’s widow and daughter; their duet in Act 1 is marvellous, the two voices beautifully matched.”

15th January, 2012, Graham Rickson

****What’s on stage

“Kathryn Rudge brings a youthful ardour to Sesto.”

16th January 2012, Ron Simpson

The Times

“The singers…put across these wonderful numbers with admirable musicality and often heartbreaking poignancy. Indeed several with live long in my memory ….the lamenting duet of Ann Taylor’s widowed Cornelia and Kathryn Rudge as her son Sesto.”

Richard Morrison, 16th January 2012

The Yorkshire Post

“Of the eight principal characters, the company debut of Kathryn Rudge as Sesto really captured the attention. Recently a student at the Royal Northern College of Music, she is a mezzo of outstanding potential.”

David Denton, 20th January 2012

The Daily Telegraph

“Kathryn Rudge made a brightly spunky and impassioned Sesto, whose duet of parting from his mother Cornelia (an eloquent and dignified Ann Taylor) was one of the evening’s highlights”

Rupert Christiansen, 16th January 2012

The Independent on Sunday

“Rudge, who excels as his agonised, fearful assassin.”

22nd January 2012, Anna Picard

*** Financial Times

“Two singers alone capture the emotional weight of Handel’s music. Kathryn Rudge’s plucky Sesto manages to be both stylish and moving.”

Andrew Clark, 27th January, 2012

The Spectator

“On the first night of this production the latter plot was much more engaging than the former, mainly because Kathryn Rudge, who plays Sesto, was so moving, so passionate and sang with such forthright ardour. Ann Taylor as his mother Cornelia wasn’t far behind, and their scenes possessed an intensity that would be a credit to any production of this opera.”

Michael Tanner, 20th January 2012

Opera Magazine,

“The mezzo Kathryn Rudge made a strong impression as Sesto particularly in her scene with Ann Taylor as Cornelia. As has been noted here before, this is a young singer of exceptional promise.”

Michael Kennedy, March 2012

The York Press,

“Rudge overcomes the handicap of an ill-fitting uniform to sing an absolute blinder as the boy bent on revenging his dad, as auspicious a Leeds debut as she could possibly have hoped.”

Martin Dreyer, 27th January 2012

Nottingham Post

“Kathryn Rudge was superb in the role of Sesto.”

25th February 2012

‘The Marriage of Figaro’ – English National Opera – Reviews

26/10/11
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‘THE MARRIAGE OF FIGARO’ – ENGLISH NATIONAL OPERA REVIEWS

CONDUCTOR – PAUL DANIEL DIRECTOR – FIONA SHAW

FINANCIAL TIMES

“The star performance comes from Kathryn Rudge’s Cherubino – chaotically sexy, charismatic, totally compelling.”

Andrew Clark, 6^th October 2011.

WHATS ON STAGE ****

“Kathryn Rudge glories as the ever nubile cross-dressing Cherubino”

Stephen Crowe, 5^th October 2011

THE TIMES

“Kathryn Rudge’s scallywag Cherubino at least has verve.”

Richard Morrison, 6^th October 2011.

Exeunt Magazine

“Kathryn Rudge gets to the roots of both Cherubino’s comic and virile appeal, although there is too great an urgency about her otherwise splendid performance of ‘Voi che sapete’.”

Sam Smith, 6^th October 2011

DAILY EXPRESS

“Kathryn Rudge gave a lovely performance as the sexually frustrated pageboy Cherubino, especially when exploiting to the full the comic potential of a girl playing the part of a boy dressed as a girl.”

William Hartston, 7^th October 2011

Opera-Britannia ****

“Kathryn Rudge is a new singer to me but she made a believable and sexy Cherubino and she sang ‘Voi che sapete’ particularly well.”

Sebastian Petit, 6^th October, 2011

The Independent

“Kathryn Rudge (Cherubino) keeps the palpitating intensity of adolescence on the boil.”

Edward Seckerson, 6^th October 2011

Play to See

“Special mention must go to Kathryn Rudge who is the most delightful Cherubino I have ever seen, her depiction of an awkward youth inflamed with passion is spot on. So much so that despite being a woman acting a man, there were giggles amid the audience at the ridiculous sight of ‘him’ being dressed up in women’s clothes.”

Kit Toda

The Guardian ***

“Kathryn Rudge (Cherubino) sensually refined.”

The Telegraph ****

“Kathryn Rudge was a pungent if not ideally boyish Cherubino.”

Musical Criticism ***

“Kathryn Rudge is an excellent Cherubino, coy and boyish as she rocks from foot to foot during the famous ‘Tell me what love is’”

Liam Cagney 7^th October

The Gizzle Review

“Kathryn Rudge balances the pure and the hormonal in her portrayal of Cherubino.”

Ed Nightingale 6^th October 2011

Bachtrack ****

As the hopelessly hormonal teenagers, Mary Bevan’s inebriated Barbarina was a flirtatious foil to Kathryn Rudge’s hyperactive Cherubino.

Intermezzo

The Opera Critic

“Kathryn Rudge is a dashing Cherubino”

Colin Anderson 5th October 2011

Gscene

“Kathryn Rudge as Cherubino was delightful playing the naughty young man in the thrall of his hormones, dreams and crushes with a believable sexual tension, she was great fun.”

Eric Page 10th October 2011

SATURDAY ARTS REVIEW RADIO 4

Michael Ardity – Novelist

“The production is extremely enjoyable and I think the one thing Fiona Shaw does to perfection is her direction of the actors …The singers were like actors as they were so true to one another . I would especially like to mention Cherubino, Kathryn Rudge. People talk about Shakespeare having written such wonderful women’s parts for boys but I think young male singers might complain that the best portrait of adolescent male desire is written for a girl and she (Kathryn) was just wonderful and the moment when she says “I am petrified with fear” I don’t think I have ever seen petrification in such a believable way. She was absolutely glorious as the girl dressing up as a boy dressing up as a girl, which, of course, Fiona Shaw has done several times in Shakespearean roles – I thought that was wonderful!”

Vanessa – RNCM – 2011

23/03/11
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ROLE OF ERIKA IN BARBER’S VANESSA RNCM MARCH 2011

“The mezzo role of Erika was sung by Kathryn Rudge with her mellowest and most lustrous tone. She is a splendid actress and conveyed infallibly Erika’s pent-up feelings, her repressions and the release which comes to her emotionally with Anatol’s arrival, which nevertheless in its turn precipitates her misfortune. She was irresistible in ‘Must the Winter Come So Soon?’ – echt Barber, the Barber of the songs – and one wished it was not over within the first five minutes. Already this charismatic singer, with her immaculate diction, knows how to stir the heart, and one hardly dares to predict what is to come.”

Michael Kennedy, Opera Now Magazine, May 2011

“Kathryn Rudge was an even greater mistress of the dramatic demands of the role…a considerable achievement having in mind the difficulties presented by the music and its distinct and difficult vocal line. She sang with strength, expression and dramatic intensity using her wide palette of vocal colour to the full. Importantly her acting contributed significantly to create a notable interpretation…I have no doubt Kathryn will make a successful career both on the stage as an accomplished singer actress and also in recital.”

Robert J Farr, Music Web International, Seen & Heard Review, March 2011.

“Kathryn Rudge, vocally already polished and eloquent as the idealistic niece Erika.”

Geoff Brow, The Times, March 2011

“The story, though, is of pent-up emotion and desperate hidden sorrows, the kind of thing that Ibsen would have made a very good play of. It demands more of its lead roles than just singing the notes with accuracy, power and beauty (the decision to show the English lyrics on sur-title was a good one, as even the reduced orchestration used here gives the voices a mighty sound to overcome at times). This was where Kathryn Rudge (Erika) proved most accomplished. She has the ability to use her face as well as her voice, conveying an inner struggle which is more compelling than that of her aunt, despite the latter being the title role.”

Robert Beale, City Life, Manchester, March 2011

Carmen – Royal Northern College of Music – Review

23/02/11
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Role of Carmen in Bizet’s Carmen RNCM December 2010

“The mezzo-soprano Kathryn Rudge is already building a shining career. Her rich and flexible tone, clear diction and magnetic stage presence are ideal equipment. The elegance of her singing avoided any vulgar excesses such as this role easily attracts, yet she brought sultry passion and intensity to the Habanera and to the Card Song. If this Carmen guessed her fate, she kept it to herself. Every Carmen I have heard has found her own way into the character and Rudge is too fine and intelligent a singer not to develop the role at each encounter.”

Opera Magazine – Michael Kennedy, Feb 2011

“One of the college’s best opera performances in years.”

Musical Opinion – John Byrne

“Kathryn Rudge as Carmen was the temptress to silence all temptresses. Her voice; fluid rich and wonderfully coloured is reminiscent of a young Victoria de los Angeles with an intuitive acting style and sheer musicianship to boot.”

Musical Opinion – John Byrne

“The real star of any performance of Bizet’s opera is the singer of the eponymous role …by the Seguedille Miss Rudge was well into the role with both her singing and acting being first rate….and in Act Four,her singing was exemplary in colour tone and expression in conveying the fraught drama of Carmen’s nature and situation.”

Seen and Heard Opera Review – Robert J Farr

MOZART’S “LA CLEMENZA DI TITO” – RNCM

26/02/10
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MOZART’S “LA CLEMENZA DI TITO”

ROYAL NORTHERN COLLEGE OF MUSIC 2010

“ Kathryn Rudge made the smaller role of Annio seem twice as important as usual, and she, too, looked, walked and ran like a boy. There is precious talent here: not only her voice, which is fluent and seems to be comfortable as well as beautiful in any register, but also her acting, which is natural and spontaneous. Her diction is immaculate.”

Opera Magazine – Michael Kennedy

“In La Clemenza di Tito she made the role of Annio the coeval of that of Sesto, both being sung by mezzo-sopranos en travesti and where the former is often seen as the lesser role.”

Seen and Heard Opera Review – Robert J Farr

ROLE OF HELENE IN OFFENBACH’S “LA BELLE HELENE” – RNCM

18/04/09
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ROLE OF HELENE IN OFFENBACH’S “LA BELLE HELENE” ROYAL NORTHERN COLLEGE OF MUSIC 2009

“Kathryn Rudge sang with her customary lustrous tone and showed herself to be a natural comedienne.”

Opera Magazine – Michael Kennedy

ROLE OF CHERUBINO IN MOZART’S “LE NOZZE DI FIGARO” – RNCM 2007

26/06/08
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ROLE OF CHERUBINO IN MOZART’S “LE NOZZE DI FIGARO”,

ROYAL NORTHERN COLLEGE OF MUSIC 2007

“Kathryn as an impetuous Cherubino brought bags of comedy to ‘Voi Che sapete’ and proved herself as adept an actress as appealing a singer”

Lynn Walker, Opera Now, Le Nozze di Figaro, Mozart, RNCM, May/June 2008.

“Kathryn was a highly popular Cherubino, putting great energy into the girl-becomes-boy-becomes-girl routine and singing with purity and attack.”

Robert Beale, Manchester Evening News, Le Nozze di Figaro, Mozart, December 2007.
“As the buckish Cherubino Kathryn Rudge sang her arias well and played the libidinous adolescent, always in the wrong place at the wrong time, to perfection throughout.”

Robert J Farr, Seen and Heard Opera Review, December, 2007.

ROLE OF OLGA IN TCHAIKOVSKY’S “EUGENE ONEGIN”

26/06/07
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ROLE OF OLGA IN TCHAIKOVSKY’S “EUGENE ONEGIN”,

ROYAL NORTHERN COLLEGE OF MUSIC 2007

“Kathryn’s Olga was delightfully conceived, with a flexible voice and natural charm in the characterization.”

Robert Beale, Manchester Evening News, March 2007.
“Kathryn Rudge, a lively and charming Olga.”

Michael Kennedy, Opera Magazine, June 2007.