Kathryn Honan-Carter
Mezzo-soprano
New England Third Place Winner 1990

Kathryn Honan-Carter, a National Finalist at the Metropolitan Opera Competition in New York and a two time recipient of the Metropolitan Opera Education Fund Grant has been acclaimed for her excellence in opera and oratorio. The San Francisco Chronicle hailed her “vibrant, colorful mezzo, flexible, knowing stage presence, and provocative and suitably enigmatic” characterization in the part of Carmenwhile Opera News stated: “Kathryn Honan-Carter made a splendid Suzuki; her beautiful mezzo blending or shining forth as the situation warranted”. The Washington Post has described Ms. Honan-Carter as “elegant” with “well crafted tones and good diction”; She “sings and acts expertly” and has “a notable comic talent as well as a rich mezzo voice”.

A native of New England, Ms. Honan-Carter received her Bachelor of Fine Arts Degree from The University of Connecticut and a Master of Music Degree (with distinction in vocal performance) from New England Conservatory. The young Mezzo-Soprano had further training as an apprentice at Central City Opera and The Banff Centre in Canada and as a member of the Merola Opera Program in San Francisco. Ms. Honan-Carter made her professional debut with the Opera Theatre of St. Louis as Hermia in A Midsummer Night’s Dream.

Since her debut Ms. Honan-Carter has performed many roles including the title role in Carmen, Rosina in Barber of Seville, Dorabella in Cosi fan tutte, the title role in Iolanthe, Suzuki in Madame Butterfly, Prince Orlofsky in Die Fledermaus, Nancy in Albert Herring and Meg Page in Falstaff with such companies as New York City Opera, San Francisco Opera’s Touring Division (Western Opera Theatre), Opera Delaware, El Paso Opera, Mississippi Opera, Opera International, Summer Opera in Washington DC and Wolf Trap Opera.

Solo concert engagements include appearances with The Paul Hill Chorale, Washington Concert Opera, National Chamber Orchestra, The Washington Ballet, Shreveport Opera, The Denver Symphony, Fairfax Choral Society and Opera Camerata of Washington as well as concert performances at Loyola College, The Mercersburg Academy, The University of Connecticut and The New England Conservatory.

Ms. Honan-Carter can be heard as Silver Dollar on the newly released 40th anniversary recording of The Ballad of Baby Doe performed with Central City Opera. She was also featured in a masterclass with Regine Crespin in a San Francisco Broadcast on CNN and in a segment on “CBS Sunday Morning” of The Barber of Seville. She has won awards from The Queens Opera Competition, Connecticut Opera Guild and Eastern Connecticut Symphony as well as from The Metropolitan Opera.

Ms. Honan-Carter recently performed the roles of Carmen and Rosina on two National Tours with San Francisco Opera. She then joined the roster of New York City Opera performing such roles as Suzuki in Madame Butterfly, the title role in Lizzie Borden (cover), Jenny Reefer in The Mother of Us All, and Maddelena in Il Viaggio a Reims all at Lincoln Center in New York.

Last summer Ms. Honan-Carter sang Annio in La Clemenza di Tito with The National Symphony Orchestra at The Kennedy Center and Mercedes in Carmen and The Mezzo in Six Characters in Search of an Author both with Opera Festival of New Jersey.

The 2000/2001 season saw Kate singing Garcias in Don Quixote with Washington Opera; Stephano in El Paso Opera’s production of Romeo and Juliet, Dorabella with Capital City Opera, Meg Page with International Opera and as a soloist with The Amarillo Symphony and El Paso Symphony. She is presently singing Rosina in Barber of Seville with Opera Delaware.

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