3279_78298551499_7461750_nBorn in Canberra, Katrina Waters graduated from the ANU and Canberra School of Music with a Bachelor of Laws (hons), a Bachelor of Music and a Post-Graduate Diploma (voice) graduating with the concerto prize and performing Mahler’s Kindertotenlieder with orchestra under the baton of Nicolette Fraillon.  Prizes from the Australian Singing Competition enabled Katrina to study for her Masters of Performance in London at the Royal College of Music where her position in the Opera School was funded by the ABRSM.  Performances with the English National Opera’s OperaWorks programme for developing artists, the Brittten-Pears Young Artist Programme in Aldeburgh, mentorship by singer’s pianist Malcolm Martineau’s during his inaugural residency at CREAR in Scotland and a Finzi Trust Award enabling the study of Zwischenfach repertoire in Berlin have all had a major impact on Katrina’s development as a communicator and singer.

After a decade of performing in the United Kingdom, France and Berlin, Katrina returned to Australia in 2012.  Based in Melbourne Katrina has forged significant artistic partnerships with local artists and companies.  Katrina is a regular collaborator and company member of Julie Edwardson’s opera fusion company Emotionworks Cut Opera.

Katrina Waters swans as Rosina, the coach’s rather Brighton-bred wife…the poignancy of Rosina’s lament of love lost and the stirring act of forgiveness she bestows on a repentant husband remain luminous highlights.”

Paul Selar, Herald Sun, Figaro vs Aus Rock, Emotionworks.

Her performances of The Countess in Figaro, Donna Anna in Don Giovanni and Tosca as well as harnessing her inner Divinyl in iconic rock venues, Spiegeltents, The Port Melbourne Football Club and Pentridge Prison challenge the stereotype of the Viking-helmet clad soprano through witty Edwardson’s witty juxtaposition of opera classics with popular and contemporary music.  She is currently rehearsing and workshopping Cosi Fan Tutti Frutti with the company, swing-dancing and singing Dorabella’s bobby-socks off for performances this year.

Recent and future Australian engagements reflect the diversity of Katrina’s artistic practice.  Her 2016 performances of Sieglinde in Act I of Wagner’s Die Walküre at The Melbourne Metropolitan Meat Market helped to raised 13K for the Peter Mac charity and will be reprised again in 2019 with the generous support of Hans Henkell.  Upcoming performances include Brahms Wiegenlied Op.91 for Viola and Voice and the soprano solos in Rossini’s Petite Mass Solenelle with the Mornington Peninsula Chorale and Frankston Symphony Orchestra.

Katrina also sang Concepçion in Ravel’s chamber opera L’Heure Espagnole for Melbourne Lyric Opera and brought her experience to operatic training company XL Arts, performing the title role of Rusalka in Dvorak’s opera and mentoring recently graduated singers in the process of learning and performing an operatic role.   Active on the recital platform Katrina has performed selections of Songs of the Vilna Ghetto by Australian composer Joseph Giovinazzo and at the Adelaide Accompanist’s Festival with David Barnard and collaborated with Kent McIntosh (Opera Australia) and Colin Forbes, performing concerts of Czech composers, singing the Gypsy Woman in Janáček’s Diary of One Who Disappeared and Dvorak’s Love Songs.

Katrina’s opera outreach work in the UK has informed her abilities as a facilitator of large groups of singers in the community space, currently Katrina is bringing her dynamic and encouraging leadership style to her role as Music Director of Mosaic Community Choir in Cheltenham and co-Director of The Mornington Peninsula Chorale and being engaged by Kingston City Council and Bayside City Council to conduct and facilitate large scale community choral works.  

Passionate about collaboration, Katrina garnered a reputation in London for creating new roles with living composers and librettists and as an Improviser and Animateur on opera outreach programmes with the English National Opera’s Bayliss Programme, The Massachusetts Institute of Technology and The Royal Opera House. Highlights include working with LiveArtShow to bring the sadistic care home nurse Cherie to life (and death by machete) in Manga Sister ( “What a joy…a batshit-mental enterprise that throws together a bunch of mad ideas and makes them work impressively well with gleeful conviction.  An eccentric gem.”★★★★TIME OUT CRITIC’S CHOICE), playing the President of the USA in Manifest Destiny (an opera about a terrorism), singing the premiere of Pisspots and Tosspots by Alex Silverman after the bawdy Greek Play Lysistrata by Aristophanes at the Ashmoleon in Oxford and introducing inner-city and at-risk teens to the operatic voice in conjunction with Katie Mitchell’s ENO production “After Dido” and using this as a springboard for their discussions and plays on suicide and grief.

Since graduating CSM with the concerto prize, Katrina has been a soloist in concert repertoire including: Mahler’s Lieder eines fahrenden Gesellen, Brahms Liebeslieder Waltzer, Elgar Sea Pictures, Vaughan Williams Serenade to Music, Handel Messiah, Durufle Requiem, Rossini Petite Mass Sollemnelle, Haydn Nelson Mass, Bach St Matthew Passion & St John Passion, Britten Ascent of F6, Mozart Requiem and the Vivaldi Gloria.

Operatic roles performed include Rusalka, Tosca, Mercedes (Carmen), Maddelena (Rigoletto), Meg Page (Falstaff), Orlofsky (Die Fledermaus), Forester’sWife/Owl (The Cunning Little Vixen), Mère Marie (Les Dialogues des Carmelites), Sally (A Hand of Bridge), Sorceress (Dido and Aeneas); Mozart roles include: Donna Anna (Don Giovanni), Dorabella (Cosi), The Countess, Marcellina (Figaro), Third Lady & Second Lady (Magic Flute); Britten roles include: Bianca (The Rape of Lucretia), Nancy & Florence Pike (Albert Herring), Moppet & Goose (Paul Bunyan), Mrs Grose (The Turn of the Screw). Katrina’s operatic roles have led her to perform in most parts of the British Isles and Brittany, France as well as Australia. Having performed on the high seas as a guest entertainer on P&O cruise liners Katrina can also claim to have sung in India, Egypt, China and even Antarctica.

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