Kathryn Miller

Mezzo-soprano Kathryn Miller holds degrees in singing from London's Royal Academy of Music and the San Francisco Conservatory of Music.

Articles By This Author

Kathryn Miller - April 13, 2009
Ragnar Bohlin
During a season otherwise filled with the iconic works of Beethoven, Mahler, and Handel, the San Francisco Symphony Chorus under the baton of R
Kathryn Miller - October 21, 2008
Mozart’s Idomeneo tells a tale of love, sacrifice, shipwreck, and war. Add to that a gorgeous score, stunning costumes, and good singing, and you should have all of the ingredients of a successful opera. The opening night of San Francisco Opera’s production, on Wednesday, however, was less than satisfying.
Kathryn Miller - August 5, 2008
The Midsummer Mozart Festival's first foray into opera, a production of The Abduction from the Seraglio at San Jose's California Theater, was highly successful in most respects. The singers ranged from capable to excellent, with one standout.
Kathryn Miller - July 15, 2008
There are always questions when small opera companies take on large works. Will a pared-down ensemble achieve the same effects of a full orchestra? Will the singers manage roles written for bigger voices? Will it work? In Berkeley Opera’s case, the answer to these questions is usually a resounding yes.
Kathryn Miller - November 20, 2007
Sometimes, a story is so universal that it can be updated without affecting the integrity of the drama. San Francisco Opera’s deeply problematic production of Verdi’s Macbeth, which debuted last Wednesday, proved to be one of the exceptions.
Kathryn Miller - July 24, 2007
The world of music has several types of 22-year-old composers — brash, confident ones; shy, talented ones; and painfully insecure ones who look to the past and worry that they were born several generations too late. Last Thursday, the Carmel Bach Festival presented works by each of these types.
Kathryn Miller - June 19, 2007
It is fitting that San Francisco Opera's new production of Iphigénie en Tauride (Iphigenia in Tauris) feels extremely contemporary. Indeed, Gluck's work, which premiered in 1779, would have sounded revolutionary in its time.
Kathryn Miller - June 12, 2007
An ensemble as well-established and famous as Chanticleer is likely to inspire imitators. Its sound, which was once unique, has spawned countless men's a cappella choral groups around the country. Friday evening's Clerestory concert, however, proved that this group is not an imitator of the Chanticleer style but rather a champion of it.
Kathryn Miller - April 17, 2007

Magnificat brings compositions by the 17th-century composer Chiara Cozzolani to the fore.

Kathryn Miller - April 3, 2007
Pocket Opera's concert-version of Handel's Flavio, presented on Saturday at the Florence Gould Theater in the Legion of Honor, combined humor, drama, and musicianship, all signatures of Donald Pippin's company.