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Photo: Stephen Dillon

Caitlin Sheridan McKechney

Voice Type:

Mezzo-Soprano

Nationality:

British, American, Greek

Country:

United Kingdom

Languages (fluent):

English, German, French

Opera

Carmen
Carmen (Bizet)
Tacoma Opera
2018
Maddalena
Rigoletto (Verdi)
Opera Connecticut
2017
Carmen
Tragedie de Carmen (Bizet)
Opera Memphis
2016
Suzuki
Madams Butterfly (Puccini)
Florida Grand Opera
2015
Inez
No Exit (Andy Vores)
Florida Grand Opera
2014
Maddalena
Rigoletto (Verdi)
Opera Memphis
2013
Tisbe
Cenerentola (Rossini)
Nashville Opera
2013
Third Lady
Die Zauberflöte (Mozart)
Nashville Opera
2013
Hansel
Hansel and Gretel (Humperdinck)
Amore Opera
2012
Kate Pinkerton
Madama Butterfly (Puccini)
Opera New Jersey
2012
Isabella
L'italiana in Algeri (Rossini)
Des Moines Metro Opera
2011
Wife/Mother
Greek (Turnage)
Chicago Opera Vanguard
2009
Inez
No Exit (Andy Vores)
Chicago Opera Vanguard
2009

Operetta/G&S

La Perichole
La Perichole (Offenbach)
Tacoma Opera
2017
Cousin Hebe
HMS Pinafore (Sullivan)
Opera New Jersey
2012
Tessa
The Gondoliers (Sullivan)
The Savoyaires
2010

Musical Theatre

Performer - Guitar, Dulcimer, Piano, Percussion
The Irish and How They Got That Way (Various)
Bucks County Center for the Performing Arts
2017
Eliza Doolittle
My Fair Lady (Loewe)
Opera North
2014
Maria
Maria de Buenos Aires (Piazzola)
Des Moines Metro Opera
2011
Sarah Brown
Guys and Dolls (Loesser)
Center Stage Theater
2010

Covered Covered & Performed Scenes Premiere of New Work Concert

"As La Périchole herself, Caitlin McKechney was marvelous, a lush mezzo with low notes like pools of water and just the right mix of long-suffering and flirty. ...her drunk scene was a delightful blend of tipsy slurs, physical comedy and fine singing, and her “Why are men so stupid?” aria brought down the house." - Rosemary Ponnekanti, The News Tribune (2017)

"The Opera Memphis presentation offers strong performances, particularly mezzo-soprano Caitlin McKechney's Carmen, with captivating vocals and powerful expressions that flash with mischief, anger, joy, confidence and sadness, vividly showing vulnerability and intelligence." - John W. Sparks, The Commercial Appeal (2016)

"As Inez, mezzo-soprano McKechney nearly stole the show. Her dark dusky voice with its vibrant top notes and powerful lower register was given a nearly tailor made part by Vores’ difficult to sing score." - Jack Gardner, Edge Miami (2014)

"As the lesbian Inez who has aided in the murder of her cousin’s husband, the coolly sexy Caitlin McKechney is clearly the show’s star. Her alluring mezzo-soprano timbre, incisive verbal articulation, expressive eyes and catlike movements rivet attention." - Lawrence Budman, ​South Florida Classical Review (2014)

“Oh, but there are the mean stepsisters, and what delightfully funny ones they are in the hands of soprano Kristina Bachrach as Clorinda and mezzo-soprano Caitlin McKechney as Tisbe. These two ... are making their Nashville Opera debuts; with their excellent singing and acting the pair make a very favorable impression.” - Evans Donnell, Arts Nash (www.artsnash.com) (2013)

"Caitlin McKechney delivers a staggering performance. [...] McKechney was a tough, hipster Inez with a sensual, charismatic presence of feline grace. The cat-eyed mezzo-soprano proved alluring in her seduction of Estelle and brought impassioned fury to the punishing vocal lines. McKechney charted Inez's evolution from ironic disinterested observer to vulnerable and ultimately destroyed victim, [...] as affecting in the aria-like moments as in the angry confrontations, spitting out Vores' imprecations, grunts and unintelligible sounds." - Lawrence Johnson, Chicago Classical Review (2009)

"McKechney has a rich voice and the chutzpah to play it older than she looks." - Melissa Albert, The Chicago Journal (2009)

Bachelor of Music
Northwestern University
2017
Master of Music
Roosevelt University, CCPA

"Powerhouse mezzo" (Albert Williams, The Chicago Reader) Caitlin McKechney is quickly making a name for herself as a dynamic singing actress. Caitlin's 2017 season proved quite varied, spanning from the title role in Offenbach's La Perichole with Tacoma Opera (described as "marvelous, a lush mezzo with low notes like pools of water and just the right mix of long-suffering and flirty..." - Rosemary Ponnekanti, The News Tribune) to playing guitar and belting out U2 at the Bucks County Center for the Performing Arts for Frank McCourt's The Irish and How They Got That Way. Caitlin will round out 2017 as Maddalena in Rigoletto with Opera Connecticut as well as a lecture about pants roles with the Metropolitan Opera Guild, where Caitlin will sing Arsace's arias from Rossini's Semiramide (For tickets, click here.). Caitlin returns to Tacoma Opera and the title role in Carmen in February of 2018.

Caitlin returned to Opera Memphis in April of 2016 as the title role in Peter Brook's Tragedie de Carmen​, for which she was hailed by John W. Sparks of the Commercial Appeal for her "captivating vocals and powerful expressions that flash with mischief, anger, joy, confidence and sadness, vividly showing vulnerability and intelligence." Later that month, Caitlin returned to New York City to revisit the role of Virginia Woolf in a staged version of Dominik Argento's Pulitzer Prize winning song cycle, "From the Diary of Virginia Woolf," with The Secret Opera, under the direction of Marcus Guy.

In 2015, Caitlin returned to Nashville Opera for Phillip Glass's politically charged and critically acclaimed production of Hydrogen Jukebox. She was also the soloist in Manuel de Falla's ballet, El sombrero de tres picos, with the Tulare County Symphony. In 2014, Caitlin reprised the role of Inez Serrano in Andy Vores's operatic treatment of Sartre's existential masterpiece No Exit as a part of Florida Grand Opera's Unexpected Opera in Unexpected Places series and made her role debut as Suzuki in Puccini's Madame Butterfly. Additionally, Caitlin was seen as Flora in La Traviata with Opera North while also covering Eliza Doolittle in My Fair Lady, and also covered the role of Fenena in Nabucco and performed the role of Myrtal in Thais as a part of the prestigious Florida Grand Opera Young Artist Program.

Other credits include Tisbe in La Cenerentola and Third Lady in The Magic Flute with Nashville Opera, Maddalena in Rigoletto with Opera Memphis, the title role in Carmen with New York Lyric Opera (described as "excellent" by Stephen J. Dubner of "Freakonomics"), Lola in Martha Cardona Theater's Cavalleria Rusticana, Cousin Hebe in HMS Pinafore with Opera New Jersey ("well-sung" - philly.com), and Hansel in Amore Opera's production of Hansel and Gretel. Also well versed in musical theater and operetta, Caitlin has been seen as Sarah Brown in Guys and Dolls, Lilli Vanessi in Kiss Me Kate, the Witch in Into the Woods and Tessa in The Gondoliers.

A champion of new music, Caitlin is currently a member of Hotel Elefant, a New York City based ensemble that focuses on performing the works of living composers. Caitlin has performed the works of Paola Prestini, Chinary Ung, Kirsten Volness, George Crumb and many others. In recital, Caitlin has presented Dominik Argento's Pulitzer Prize winning song cycle, "From the Diary of Virginia Woolf" with the cycle that inspired it, Schumann's "Frauenliebe und Leben" with pianist and conductor Zoe Zeniodi. Also a painter, the recital was accompanied by a selection of Caitlin's own paintings inspired by these cycles and their expression of the female voice.

Caitlin grew up outside of Chicago, IL and started singing while playing the guitar with her father, Tom, falling in love with the blues and rock 'n' roll. Synthesizing her former life as a rock singer with her operatic training, Caitlin is a founding member of the group The Opera Cowgirls, a "band" that brings opera to Brooklyn hipsters and other operatic neophytes, showing them how cool opera, the ultimate "retro," really is. The Cowgirls have performed all over New York City, Chicagoland and in concerts and gala event with Cedar Rapids Opera Theater and NightBlue Theater in Illinios. ​

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