top of page


As Anna in La Dame Blanche
"Both romantic leads had clearly prepared their key extended solo arias with technical and expressive care....The title role (Anna) only appears as of Act II; her music -- often graced by a harp -- demands lyricism but also power and flexibility, seemingly a template for Isabelle in Meyerbeer's Robert le Diable and Mathilde in Rossini's Guillaume Tell. Katy Lindhart's soaring soprano rose excitingly to these challenges, and aced the prima donna cadenzas that rise from Boieldieu's concerted ensembles, as Verdi's were to do." - Opera News
“As Anna, posing as the “White Lady,” soprano Katy Lindhart revealed a rich, ductile and flexible soprano with bright tonal point and lush timbre.  Lindhart proved equally adept in long spun legato lines and brilliant coloratura.” - Parterre
As Tatiana in Eugene Onegin 
"Katy Lindhart, as Tatiana...was a vocal revelation. Her famous “letter scene” was radiantly sung, a full Russian banquet of girlish delight, indecision, then resolute desire. The voice is there in spades..." - Houston Chronicle 
As Giunia in Lucio Silla

"Katy Lindhart excelled in the punishingly difficult role of Giunia, singing with an impressive combination of accuracy, musicality, and sheer stamina." - The Boston Globe

"...This is a Donna Anna/Donna Elvira caliber voice, large, robust, and flexible... Her voice flexed to the emotional demands of the drama - indomitable and defiant in her rejections of Silla's advances, consumed by grief at the thought of her father's murder at his hands, tender and devoted in her interactions with Cecelio." - Bachtrack

"The biggest voice was that of Katy Lindhart, in keeping with her heroic role as the steadfast and courageous Giunia. In her Act I aria, she shifted in a moment from the reverential tone displayed in her recitative exchange with Silla to heroic defiance in a bravura aria in which her powerful soprano was bolstered by oboes, horns, and trumpets. Act II featured an aria in the heroic mode for Cecelio and a corresponding aria for Giunia with the same orchestration... here Lindhart outdid herself, in command of her full range as she tossed off extended roulades." - Boston Musical Intelligencer


"As Giunia, soprano Katy Lindhart brought a tinge of anger and palpable sorrow to the role. Giunia has a deep hatred for Silla, yet she is also consumed by grief. Lindhart's most sweetly sorrowful singing came with "Fuor di queste urne dolente," her aria at her father's grave." - Boston Classical Review

As Fiordiligi in Cosi fan tutte

"As Fiordiligi pines so exquisitely in her showstopper “Come scoglio” (“Like the rock”), only death should alter her constancy. But it's futile; after all, everyone's only human. Mozart gives her a seria aria to rival the best, full of sturm und drang and the type of introspection only Mozart could so securely capture. Lindhart, roaming the platform stage, tears into this concert piece with tempered steel and filigreed resolve. Needless to say, she succumbs soon after her impassioned outburst.

Everyone has something to say in this ensemble piece, and all voices are important. Lindhart supplies creamy tone and oomph..." - Houston Press 

As Female Chorus in The Rape of Lucretia


"Certain moments stuck with me: ...the despair with which Katy Lindhart, as the Female Chorus, ended her part, wondering whether the story meant as little as it seems to have. (She, especially, tailored her voice to the room, singing easily when the moment—and the space—called for it.)... It wasn’t just an excellent evening of music—it was a profound one." - Opera News


"The highest praise I can give LoftOpera’s presentation of this problematic work is that they made of it something not only profound but also shattering.... Best of all was the “chorus” couple of sideline narrators, in this production deeply enmeshed in the action. Katy Lindhart’s big, glacial soprano radiated moral authority." - NY Observer


"Katy Lindhart  has a sensual tug that she used, with a toss of her head, to imply a cynical wink at her own moralizing." - Parterre

As Susanna in Le nozze di Figaro

“A case could be made that instead of Figaro, his fiancé Susanna’s name should be in the title: She has the most stage time and is the catalyst that brings order out of chaos. Katy Lindhart has just the right voice and personality for that kind of role. Her Susanna bounced merrily about the stage, tossing off difficult high notes and rapid vocal lines without strain or struggle. Her expert acting turned a role that could easily devolve into slapstick into something substantial and believable." – St. Louis Dispatch 


"Katy Lindhart is a spirited, saucy Susanna with a sweet, true soprano. Her duet with the Countess is sublime." – Broadway World 


“Katy Lindhart fills Susanna with plenty of spunk and sassiness as well as a fine voice.” – Ladue News




bottom of page