Reviews

Messiah

"...the standout of the evening was the soprano Kathryn Lewek...Ms. Lewek’s soprano has an appealing weight and warmth across its range, with blooming, unforced top notes. Combined with voluptuous phrasing and careful attention to the text, those qualities gave each of her solos lasting emotional resonance."
The New York Times

Il Barbiere di Siviglia

“Not only did Lewek reach higher notes in her coloratura flights, she also conspired to deliver more comedy. From the moment she launched into the famed "Una voce poco fa," proclaiming Rosina's devilish tendencies, it was obvious the Lewek was capable of meeting the pyrotechnical demands of this showpiece. … Lewek delivers these passages with sudden surges in volume to enhance the effect. Sensational and comically seductive at the same time.”
– Broadway World

Ariodante

“Kathryn Lewek brings to light all the facets of her stupendous virtuosity. The loneliness, turmoil, and modern ego-abandon that Kathryn Lewek has to put into the three arias of the last tragic scene before the happy ending moved us to tears.”
– Dreh Punkt Kultur

The Magic Flute at the Metropolitan Opera

"Kathryn Lewek, who made her company debut as the Queen in 2013, did a remarkable job in all aspects of her fearsome music. The tone, consistently rounded and attractive, has sufficient thrust not only for the fireworks—including five stellar high Fs—but for the weightier "Zum Leiden"; the musical challenges, triplets and all, were aced with seeming ease. Lewek's Act II aria won the sustained cheers that her first had also merited.”
– David Shengold

Washington National Opera Gala 2018

"Next was perhaps the vocal-highlight of the gala with soprano Kathryn Lewek delivering “Glitter and Be Gay” from “Candide” in spades. Her scintillating upper register was laser focused, yet effortless enough to nimbly dance around the aria’s lighthearted character."
– Maryland Theatre Guide

Queen of the Night

“Soprano Kathryn Lewek was spectacular in the role. The character’s arias have a fame far beyond their dramatic context, and the bravura technique they demand exhilarates audiences. Yet her singing was exciting beyond sheer articulation, intonation, breath-support, and color—she was fully in character throughout, expressing first benevolent superiority in “O zittre nicht, mein liber Sohn”, then power, finally malevolence. Her Act II aria, “Der Holle Rache kocht in meinem Herzen,” was blistering and thrilling, making one hold one’s breath until the final note.”
– New York Classical Review

Ariodante

“The singing star of the evening may have been Ginevra. Kathryn Lewek, an American coloratura, was very convincing with impressive security and vocal variations, culminating in the intimate Io ti bacio, o mano augusta, in which she is condemned to death by her father (bass Nathan Berg) and his strict but wavering hand between father-love and state reasons.”
Die Tagespot

Ariodante

“In addition to Bartoli's Ariodante, the role of the Ginevra is a vocal sensation: the American Kathryn Lewek dominates the merciless radiance of the princess, as well as the tragic injuries of the father's prisoner.
Breathtaking in the lines of the music, which is evenly distributed into the highest regions, the intonation was unbreakable, the legato and the alternation of the register, the uniquely shimmering yet firm quality, the intensity of the melting of the sound, Charming grace.
Such a rich (and richly differentiated) soprano voice could not be experienced for a long time”
– Salzburger Nachrichten

Die Entfuhrung aus dem Serail

“In Constance’s tour-de-force aria "Martern aller Arten," Kathryn Lewek really shows off astonishing bell-pure fluency and virtuosity.”
– Die Welt

Benvenuto Cellini

“But in my opinion, the most perfect casting was the choice of Kathryn Lewek as the innocent, lovely but playful and spirited Teresa. Lewek’s pure, beautifully clear voice and emotional range was wonderful to experience”
– Barcelona Metropolitan

Lucia di Lammermoor

“With a rounded yet clear tone, a silvery upper register, incredible flexibility, and never-fail control, Lewek is a natural fit for the role. Moreover, her acting matches her wondrous voice — lots of physicality, strong stage presence, an ability to go the dramatic distance.”
– The Blade

Die Zauberflöte – The Metropolitan Opera 2018

“Lewek has to be the finest contemporary Queen of the Night, bar none. Her two main appearances were spectacular—along with the chops, she brings a fierceness and vocal excitement to the role, a great balance of camp and seriousness. This shorter version means the Queen’s appearances have larger proportions, and with her giant, dazzling wings, Lewek counterbalanced the comedy with darkness.”
– New York Classical Review