PRESS
“…Coventry intelligently developed greater depth of character, singing with a rounded tone, full of colour.”
OPERA MAGAZINE, CLAIRE SEYMOUR
Marriage of Figaro
ENGLISH NATIONAL OPERA
“I was impressed by Katie Coventry’s Cherubino: just the right amount of richness in the voice to suggest nascent sexual burgeoning but balanced by a lovely gamine gentleness which Coventry did not overplay.”
OPERATODAY.COM, CLAIRE SEYMOUR
“Two young ENO Harewood Artists nearly stole the show, being the Suzana of the soprano, Rhian Lois, who although not possessing a large voice, has a very large personality and sweet sound and the Cherubino of Katie Coventry, who has a beautifully high grained soprano sound, with bags of personality to match.”
OPERASPY.COM, DAVID BUCHLER
“Katie Coventry’s sassy Cherubino was joyfully sung and raucously acted, full of youthful passion and mischief.”
BACHTRACK, DOMINIC LOWE
“Katie Coventry, also an ENO Harewood Artist, strikes just the right balance as Cherubino, beautifully musical and charming without being hammy…”
THE ARTS DESK, JESSICA DUCHAN
“Altogether a wonderfully strong cast with ENO Harewood artist Katie Coventry giving a wittily realistic performance as Cherubino, moving like a young man and resisting the tendency to play the role for laughs and overdo the improprieties in Act IV.”
MARK RONAN REVIEWS
“Katie Coventry made a delightful Cherubino, slight and vivacious, this young man had plenty of energy combined with a wide-eyed naivety which was engaging. Cherubino had not, yet, had his belief in the world knocked out of him. This was a very active account of the role, and Coventry is a gifted comedian, both physically and in the use of facial expressions (those wide eyes). But she sang ‘Non so più cosa son’ beautifully, with an engaging urgency.”
PLANET HUGILL, ROBERT HUGILL
“A highlight for me was Katie Coventry singing the page boy, Cherubino. Her character was passionate and fun-loving all at once – a Cherubino with a real desire to enjoy the juice of life.”
SCHMOPERA, JOHN BECKETT
“Katie Coventry’s Cherubino was a triumph. A participant in the ENO Pirates in February 2017 (she took the role of Edith), her ‘Non so più’ was a thing of breathless beauty, her Act II ‘Voi che sapete’ poised and eloquent. Coventry seemed to fit the part perfectly.”
SEEN AND HEARD INTERNATIONAL, COLIN CLARKE
“Another newcomer, Katie Coventry, is a happy-go-lucky, gleaming young Cherubino.”
FT, RICHARD FAIRMAN
Ariodante
RCM / LONDON HANDEL FESTIVAL
“The sequence of outstanding arias for the title role is especially memorable and mezzo Katie Coventry rose to the occasion with firm, well-focused singing and an uplifting sense of elation.”
FT, RICHARD FAIRMAN
“Katie Coventry easily secured the fireworks of Ariodante’s part, whilst still sounding absolutely musical and engaged.”
CLASSICALSOURCE.COM, CURTIS ROGERS
“A seven-strong ensemble (alternating with another cast over four performances) brought this dark-light work to life with some fine singing, notably from the Scottish mezzo-soprano Katie Coventry in the demanding title role.”
THE GUARDIAN, FIONA MADDOCKS
“The title role was taken by the 24 year old Katie Coventry, singing this stuff marvelously as though it presented no difficulties whatsoever. And she was a handsome presence looking startlingly like Robin Ticciati – no bad thing!!”
BRIAN DICKIE
The Cunning Little Vixen
BRITISH YOUTH OPERA
“Hazel McBain was an elegant, sassy Vixen, floating top notes with ease, matched by the mezzo soprano Katie Coventry as the roguish Fox.”
OPERA MAGAZINE, MARK PULLINGER
Owen Wingrave
BRITISH YOUTH OPERA
“In her final duet with Owen, Coventry intelligently developed greater depth of character, singing with a rounded tone, full of colour.”
OPERA MAGAZINE, CLAIRE SEYMOUR
Hansel and Gretel
RCM
“Katie Coventry’s hyperactive Hänsel was full of vocal personality- firm and forward with an endearing sizzle on the tone.”
OPERA MAGAZINE, YEHUDA SHAPIRO
Così fan tutte
NEVILL HOLT
“As Dorabella, Katie Coventry’s dramatic engagement was as effervescent as her singing- a winning and well characterised performance.”
OPERA MAGAZINE, NIGEL SIMEONE
Die Fledermaus
RCM
“Sporting a luxuriant moustache, the willowy, Katie Coventry looked rather lovely as Orlofsky and provided a lush, seamless line, with no hiccups.”
OPERA MAGAZINE, YEHUDA SHAPIRO
