Katie Bray


"The most strikingly successful element of the evening was Katie Bray’s fresh-faced and ingenuous Charlotte. Her olive-toned mezzo projects cleanly... Here is a name to remember."

Rupert Christiansen, The Telegraph

"Yet it is the bright young mezzo Katie Bray who really impresses here, showing both the emotion and colour of voice to support Rosina’s challenging range..."

Alfred Hickling, The Guardian

"Katie Bray’s mezzo is richly spiced and colourful in potent performances of the Zemlinsky."

Hugo Shirley, Gramophone

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British mezzo-soprano, Katie Bray is fast establishing a colourful international career, most recently as Rosina Il Barbiere di Siviglia at Opera North.

She also made her solo début with Opera Holland Park as Mallika Lakmé and with English National Opera in Joanna Lee’s The Way Back Home at the Young Vic Theatre.

Recent engagements include Zulma at Garsington Opera in Will Tuckett’s production of L’Italiana in Algeri, her return to ENO in Philip Glass’ Akhnaten, Charlotte Werther at the 2014 Grimeborn Festival, cover Cherubino Le Nozze di Figaro in McVicar’s production at the Royal Opera House, and Nancy Albert Herring with Opera North.

Katie Bray is equally at home on the concert platform, and has performed in prestigious venues such as the Wigmore Hall, Cadogan Hall, and the Holywell Music Room. She appears regularly in the London English Song Festival, where she recently directed concerts at Wilton’s Music Hall, as well as the Oxford Lieder Festival.

Recent highlights include a recording of Schumann songs with Sholto Kynoch for the Oxford Lieder Festival, and a tour of Bach’s St Mark Passion with the Barokksolistene, led by Bjarte Eike.

Katie Bray graduated as a Karaviotis Scholar from the opera course at the Royal Academy of Music, and was awarded the 2012 Principal’s Prize.

Taught by Elizabeth Ritchie and Iain Ledingham, she won First Prize in the Academy’s prestigious Richard Lewis Singing Competition in 2011.

Recent and future performances include Hansel Hansel and Gretel, Louis XV Chair/Female Cat/Owl L'enfant et les sortilèges and Lola Cavalleria Rusticana for Opera North; Zaida Il turco in Italia for Garsington Opera; Minerva Il ritorno d'Ulisse in patria and Satirino La Calisto for English Touring Opera; and Lucilla La Scala di seta for Scottish Opera. In the 2017/18 season, Katie Bray makes her debut with Welsh National Opera as Zerlina Don Giovanni.

This biography is for information only and should not be reproduced.

Il Turco in Italia

Garsington Opera (July 2017)

Katie Bray sings the role of Zaida with style and warmth, a perfect foil to Tynan

Anna Picard, The Times

I’d defy anyone to name a more complete singing actress than Sarah Tynan, except perhaps Katie Bray. Here we get them both…as the gypsy Zaida, the every-changing Bray – who never ceases to astonish – lent her irresistible stage presence along with her rich, penetrating mezzo to a performance of scene-stealing delight

Mark Valencia, What's on Stage

Katie Bray, as Selim's former lover Zaida, had perhaps an easier job to make her character sympathetic as the wronged innocent, but Bray really made Zaida count. She combined a vivacity with warmth of tone, and created a real sense of character.

Robert Hugill, Opera Today

Hansel and Gretel

Opera North (Spring 2017)

Katie Bray and Fflur Wyn could scarcely be bettered as the eponymous brats.

Rupert Christiansen, The Telegraph

Katie Bray’s Hansel and Fflur Wyn’s Gretel sing with a light, spontaneous ease that overcomes the disconnect of a pair of pre-teens expressing themselves with mature, adult voices. The famous duet in which they sing themselves to sleep is breathtaking.

Alfred Hickling, The Guardian

Katie Bray as Hansel is ideal in all respects, having clearly studied how young boys move and what expressions they adopt. She has a lovely voice, too, and the opening scene for the two is ravishing musically.

Michael Tanner, The Spectator

...in Bray’s case, as good an impersonation of a boy as you’ll ever see from a young woman. Only her floridly gorgeous mezzo gives her away.

Mark Valencia, What's on Stage

Ulysses’s Homecoming / La Calisto

English Touring Opera (Autumn 2016)

Katie Bray declaims Minerva's injunctions with irresistible authority and panache

Rupert Christiansen, Telegraph

Katie Bray - the performer of the season - once again shows her quality as Minerva

Alexandra Coghlan, The Spectator

Katie Bray's Satirino bubbled with dynamics, colour and unstoppable comic energy

Yehuda Shapiro, Opera Magazine

Katie Bray repeated her tremendously spirited performance of the previous evening, surmounting the high-lying line with panache as a commanding Minerva whose rulings and instructions must be obeyed

Claire Seymour, Opera Today

L'Italiana in Algeri

Garsington Opera (July 2016)

Her attendant, Zulma, was the vivacious and vibrant Katie Bray.

Claire Seymour, Opera Today

Barber of Seville

Opera North (October 2015)

Katie Bray is a delightfully sparky and sympathetic Rosina; when it was revealed that her penniless admirer was actually a count, Bray beamed as if all her Navidads had come at once.

Neil Fisher – The Times

Yet it is the bright young mezzo Katie Bray who really impresses here, showing both the emotion and colour of voice to support Rosina’s challenging range. The finest Rosinas must alternately resemble both a flute and a clarinet: Bray’s voice has scope to develop further, but she’s not far off that scale.

Alfred Hickling, The Guardian

Zemlinsky’s Sechs Gesänge

Royal Academy of Music Soloists Ensemble (Linn CKD481)

Katie Bray’s mezzo is richly spiced and colourful in potent performances of the Zemlinsky.

Hugo Shirley, Gramophone


Opera Holland Park (July 2015)

Bray and Dickinson excel in their company debuts.

Anna Picard, The Times


Garsington Opera (June 2014)

Naughty girlie chums Katie Bray (a super mezzo) and Raphaella Papadakis are scrumptious in their opening pranks.

Roderic Dunnett, The Arts Desk


New Sussex Opera (November 2013)

Lazuli was sung with panache by Katie Bray.

Rupert Christiansen, The Telegraph ****

The character who might be said to have been born under a lucky star, Lazuli, was personified with great charm by Katie Bray, who delivered her solos in a firmly rounded mezzo-soprano and her dialogue in clear-cut tones.

Margaret Davies, Opera Magazine

The magnetic Katie Bray was an itinerant beautician Lazuli.

Robert Thicknesse, Opera Now


Grimeborn Festival

The most strikingly successful element of the evening was Katie Bray’s fresh-faced and ingenuous Charlotte. Her olive-toned mezzo projects cleanly... Here is a name to remember.

Rupert Christiansen, The Telegraph

Emperor of Atlantis

English Touring Opera

Musically it's terrific, with not a weak performance anywhere, though Katie Bray’s warmongering Drummer and Callum Thorpe as the multiple voices of reason and technology that Ullmann simply calls Loudspeaker, are particularly outstanding.

Tim Ashley, The Guardian

Katie Bray’s mezzo was outstanding. Her punch performance as the thigh-bone wielding Drummer combined vocal athleticism with physical vigour on stage.

John-Pierre Joyce, Music OMH

Katie Bray was outstanding.

Opera Now

World Premiere of Kommilitonen, Sir Peter Maxwell-Davies

Royal Academy of Music

Wu is sung with the luxurious mezzo-soprano of Katie Bray, a sound of compassion, plangeant but not abject or begging. This is the most convincingly operatic performance, Bray characterising Wu with the quality of sound. Consequently it’s, for me, the most gripping account of a maligned individual of the evening.

Royal Academy of Music

Die Dreigroschenoper

Royal Academy of Music

Vocally, the undisputed star was Katie Bray as Polly. Bray gave us wonderful feel for Weill's melodic lines and for every mood, whether lyrical in her Farewell Song, waywardly self-willed in the Song of Yes and No or rapid-fire in her Jealousy duet with Runette Botha's Lucy

David Karlin, Bachtrack

Béatrice et Bénédict

Royal Academy Opera

Katie Bray’s Béatrice is sparkily acted and warmly sung

Richard Morrison, The Times

The Béatrice of Katie Bray was stunningly brilliant

Michael Tanner, The Spectator

Katie Bray Opera Repertoire


Béatrice et Bénédict (Béatrice)


Candide (Paquette)


Carmen (Carmen)


Albert Herring (Nancy)
The Rape of Lucretia (Lucretia)
A Midsummer Night's Dream (Hermia)


La Calisto (Satirino)


L'Etoile (Lazuli)


Lakmé (Mallika)


Faust (Siebel)


Xerxes (title role)


Hansel and Gretel (Hansel)


Werther (Charlotte)


Kommilitonen! (Wu)


L'Incoronazione di Poppea (title role)
Ulysses' Homecoming (Minerva)


Cosi fan tutte (Dorabella)
Don Giovanni (Zerlina)
La Clemenza di Tito (Sesto / Annio)
Le nozze di Figaro (Cherubino)
Die Zauberfloete (Second Lady)


Barber of Seville (Rosina)
Il Turco in Italia (Zaida)
La Cenerentola (Angelina)
L'Italiana in Algeri (Zulma)


Der Kaiser von Atlantis (Drummer Girl)


Die Dreigroschenoper (Polly Peachum)
Die Sieben Todsünden (Anna)

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