"Katherine Steffan sings with skilled comic timing" The Stage

"The most interesting performance came from Katherine Steffan: she looked gorgeous and has a highly individual, bright, rather grainy voice, gracefully used. I hope we shall see and hear more of her." - Rodney Milnes, Opera Magazine

Katherine Steffan studied at the Royal Northern College of Music in Manchester. She then spent three years working in musicals before continuing her classical training on the postgraduate opera course at the Guildhall School of Music and Drama in London. She has sung with Glyndebourne Festival Opera (Meg, Falstaff), Kent Opera (Isolier, Count Ory), Opera North (Ramiro, La finta giardiniera), Welsh National Opera (Hansel, Hansel and Gretel), Holland Park Festival Opera (Juno, Orpheus in the Underworld), City of Birmingham Touring Opera (Beauty in Stephen Oliver's Beauty and the Beast; Siebel, Faust) and Opera Northern Ireland (title rôle, La Cenerentola).

Her other appearances include Dinah (Bernstein's A Quiet Place – British première in the presence of the composer) and Mercédès (Carmen) and Suzuki (Madama Butterfly) with European Chamber Opera. Katherine has also sung the title role in Bizet’s own concert version of Carmen, which she studied in Florence with the eminent soprano Suzanne Danco. Appearances overseas include rôles in Mozart’s Die Zauberflöte and Monteverdi's Orfeo in Spain; broadcasts in Holland of Joseph (Méhul) and Ravel’s L'Enfant et les Sortilèges, as L’Enfant; and in Germany, Dorabella in Mozart’s Così fan Tutte. Her concert repertory ranges from Handel and Bach with the Northern Sinfonia to Beethoven's Choral Symphony with the Hallé Orchestra and Chorus. For Opera Restor’d Katherine has sung Mauxalinda (Lampe’s The Dragon of Wantley), Gasparina in La Cantarina and Volpino in The Apothecary (both by Haydn), the title rôle in Dibdin’s The Ephesian Matron and Liscione (Scarlatti’s La Dirindina).

She appeared in Das Dreimäderlhaus, the forerunner to Lilac Time. She has also sung as soloist for the Royal Ballet in Stravinsky’s Pulcinella for their Dance Bites tour; and Zemlinsky’s Lyric Symphony and the Poulenc Gloria, both at the Royal Opera House, Covent Garden.

Having concentrated mainly on her teaching over the last few years, Katherine returned to the stage in January 2016; she played Juno and Public Opinion in Offenbach’s Orpheus in the Underworld for Opera Danube at St John’s Smith Square.

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