| BIOGRAPHY & vitae |

Called a “vocally lustrous earful” by the Philadelphia  Enquirer, native Kansan Kathryn Allyn has run the gamut, appearing in everything from the   title role in Carmen (Florida  Grand Opera and Anchorage Opera), through Die Tote Stadt's Brigitte and Madama Butterfly's Suzuki (New York City Opera) all the way to Oklahoma's Ado Annie Carnes (Virginia Opera Association) and a turn as Alto Soloist with the Tokyo New City Symphony's performances of Mahler's Symphony Nr. 2.

Other assignments at New York City Opera included Richard Rodney  Bennet’s The Mines of Sulphur (Rosalind), Carmen (Mercedes) and Handel’s Flavio (Teodata), as well as covering Juno in Semele, and La Nourrice in Ariane et Barbe-Bleu. She appeared in Opera Orchestra New York's New Jersey performances as Malcolm in La Donna  del Lago and Eric Smeton in Anna Bolena.  

Going on to appear in  such roles as Niklausse/Muse, Hansel, Die Zwiete Dame, Prince Orlovsky, Marcellina, Rosina, Siebel, Ariodante, Hansel, Suzy (La Rondine) Flora Bevoix, Stephano, Kaye appeared with companies including Palm Beach Opera, The Florentine  Opera, Syracuse Opera, Virginia Opera Association, El Paso Opera, Arizona  Opera, New York Chamber Opera, Opera Theater Northern Virginia, Boheme Opera of  New Jersey, The Kalamazoo Symphony, Cleveland Opera, Sarasota Opera and Austin Lyric Opera.

As a sprout, Kaye discovered her now-indispensable sense of comedy at The Ohio Light Opera in small (well nigh unto invisible, although they did have names, for the most part) roles in the Gilbert and Sullivan canon and the operetta of  Europe. She enjoyed a birds-eye view of The Mikado, Utopia LImited, The Pirates of Penzance, HMS Pinafore  (the best one) and The Gondoliers, along with Strauss’ Wienerblut, Zeller’s Die Vogelhandler, German's Tom Jones (you really had to see that one to believe it), Romberg's The Student Prince, Gilbert's hilarious translation of Offenbach's Les Brigands, Coward’s Bittersweet, Villa-Lobos’ Magdalena and others. (Bittersweet, Les Brigands and Magdalena are neglected jewels, and should get done a lot more often. Take note, zero people who are reading this.) 

In concert repertoire, Kathryn has been heard with the Tokyo New City Symphony, as Alto Soloist in Mahler's Symphony Nr. 2. At Carnegie Hall, Kaye has appeared as Alto Soloist in Mozart's Requiem K. 626, Handel's Messiah, Vivaldi's Gloria and Beethoven's Symphony Nr. 9.   In 2014, Kathryn performed Berlioz’ Mort de Cleopatre with the recital series of St. Peter’s Church, New York City,

A hundred years ago, Kaye was a prize winner at The McAllister Awards (Third Prize, Professional Division), the Birmingham Opera Awards (Third Prize) and the LOCCA Competition (Finalist), and makes her home in New York City with Tenor, Samuel Lloyd Kinsey and Cat, Beatrix Cattenborough.

| vitae |

Carmen

Carmen

Aloes (Chabrier's L'Etoile)

Prince Orlovsky (Die Fledermaus)

Mercedes (Carmen), with Malcolm McKenzie and Shannah Yerofeyev

The Mikado (with Sandra Piques-Eddy and Tonna Miller

La Rondine

Niklausse (Les Contes d'Hoffmann)

Princess Batcheat (Haroun & the Sea of Stories)