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NZ Voice Programme
Catrin

Catrin Johnsson

ARAM, Dip.RAM, PG.Dip.(Opera), LRAM, B.Mus.Hons.Stockholm

Mezzo soprano, Catrin Johnsson was born in Sweden and trained at the Royal College of Music, Stockholm, and at the Royal Academy of Music, London. In 2018 she was awarded an ARAM from the Royal Academy of Music for her “significant contribution to the music profession”. Other awards include the prestigious Christina Nilsson Award.

Catrin has worked as a principal artist for companies such as English National Opera, Opera Holland Park and English Touring Opera. Roles include the title role in The Duchess of Malfi for English National Opera, Medoro in Handel’s Orlando for the Åmot Opera Festival in Norway, Cherubino in Le nozze di Figaro, La Ciesca in Gianni Schicchi and Dimitri in Fedora for Opera Holland Park, Dorabella in Così fan tutte, Orlofsky in Die Fledermaus, Dido in Dido and Aeneas, Carmen in Carmen, Meg Page in Falstaff, Hansel in Hansel and Gretel, Second Lady, Third Lady and Third Boy in The Magic Flute, Adelberto in Ottone and Idelberto in Lotario for the London Handel Festival, Nicklausse in Les Contes d'Hoffmann, The Prince in The Happy Prince, Zerlina in Don Giovanni. In 2016 Catrin made her debut for NZ Opera in their production of the The Magic Flute as Second Lady, and in 2021 and 2024 she performed the role of Mum/Granny in NZ Opera’s production of Lucy Mulgan’s RED!. In 2022 she performed in New Zealand Opera’s Art Song Project Call of the Huia. In 2023, Catrin performed roles in the world premiere of Unruly Tourists for New Zealand Opera. In 2023 Catrin was Chorus Director for the Christchurch Symphony Orchestra’s performance of Carmina Burana. She also directed and conducted the University of Auckland’s production of Dido and Aeneas by Purcell.

In concert she has performed at the Queen Elizabeth Hall, Purcell Room and St John's, Smith Square in London. She is a regular soloist for oratorio and orchestral concerts in New Zealand, performing in venues such as the Auckland Town Hall and St Matthews-in-the-city in concerts with organisations such as Bach Musica, Auckland Choral, St Matthew's Chamber Orchestra and the Auckland Philharmonic Orchestra. Catrin is a Performance Teacher at the University of Auckland, where she teaches voice, stagecraft, ensemble leading skills and communication skills for conductors, instrumentalists and singers. Many of her students are now studying overseas at prestigious schools such as; The San Francisco Conservatoire, The Royal Academy of Music (London), The Royal Conservatoire of Scotland and The State University of Music and Performing Arts in Stuttgart, Germany. As a stage director she has made full productions of Masters recitals and co-directed the annual opera scenes productions for the University of Auckland. In 2019, Catrin directed a production of “The Little Matchgirl Passion” by David Lang for the Auckland Chamber Choir. Catrin is language and vocal coach for Voices New Zealand Chamber Choir. In 2021, Catrin was Chorus Master (Auckland chorus) for New Zealand Opera’s production of Le nozze di Figaro and she also conducted Hineraukatauri, - New Zealand Opera’s contribution to World Opera Day. In 2017 she was National Adjudicator for the IFAC Handa Australian Singing Competition. Both nationally and internationally, Catrin frequently gives masterclasses, workshops and presentations on vocal technique, acting and creativity. She is also an accomplished organist who began her professional career as a musician at the age of 15 years.

Reviews

“Catrin Johnsson’s warm and loving tones are immediately inviting in ‘Akoako a Te Rangi’,by Maewa Kaihau, born of
a French father and her mother of Ngā Puhi descent. Equally at home in the Māori and English poetry throughout the
concert, Johnsson’s rich and colourful “heart of gold” voice serves to bring out the story-telling aspect of many of the
songs. Her attention to detail and nuance of enunciation also draw us into the character of each piece – a delightful
example being the extended ‘s’ sound in the final word of her last solo: “...these two words may suffice: ‘You’re
Nice!’”

Call of the Huia – Forgotten Art Songs of Aotearoa, New Zealand Opera, 2022, Reviewed by Pepe Becker

8 Aug 2022


“Johnsson received the same [spontaneous outburst of applause], reining in her formidable vocal power, for a more
intimate, cabaret-style ‘You’re Nice’.”

Call of the Huia, New Zealand Opera, 2022, Reviewed by William Dart, 18 Aug 2022, The New Zealand Herald

“The three ladies (Amelia Berry, Catrin Johnsson, Kristin Darragh) were quite superb – lasciviousness incarnate, and I
mean the seductive tone of their voices as well as their characters. Their silvery tones and close harmony work was
outstanding. If I had to single out ONE thing about the production, my highlight was the three ladies – in every scene
that they were in.”

Second Lady: The Magic Flute, New Zealand Opera, 2016, Stephen Gibbs

 

"The star was Swedish mezzo Catrin Johnsson whose performance was of the very highest class. The spaciousness
and freedom with which she sang two Brahms songs for voice and viola was just magical."

Christchurch Press, New Zealand

 

“The role of Dido was masterfully played and sung by Catrin Johnsson. Here are no weak points, either in singing or
acting. Catrin Johnsson is a queen in every way!”

Dido and Aeneas, Norway, NRK


"A Cherubino of a servant boy, Dimitri, irresistibly played by Catrin Johnsson, dapples every scene, finally gathering his Edelweiss in a little dance routine of his own in the Swiss spring which is to bring tragedy."

Fedora, Opera Holland Park, The Times
 

"The show was all but stolen by Catrin Johnsson's delicious Cherubino, her unsettling androgyny enhanced by the beginnings of a moustache. And she sang beautifully as well."

Le Nozze di Figaro, English Touring Opera, Opera Magazine
 

“Catrin Johnnson has just the voice for the part, and bags of suitable cheek too.”

Le Nozze di Figaro, Stowe Opera, The Oxford Times
 

"Catrin Johnsson is an incomparable Cherubino, dangerous, purposive, her natural unforced singing rooted in
character."

Le Nozze di Figaro, English Touring Opera, The Stage
 

“…Carmen, Catrin Johnsson from Sweden, handled southern sultriness with flair…”

Carmen, Opera Project, Opera Now
 

"...the wonderfully sympathetic Prince (Catrin Johnsson)...Johnsson's exquisite delivery - pure joy..."

The Happy Prince, Jubilee Opera, Opera Now
 

"Catrin Johnsson as Dorabella brought a delicious sexiness that women are like this - changeable, quixotic, exotic and
practical and loving. She brought a girl-power meaning to Mozart that was refreshing in a girls just gotta have fun
sense."

Dorabella, CoOpera Ireland, Munster Express

Recordings

  • 2019 - Catrin Johnsson (mezzo-soprano) and Rachel Fuller (piano) perform Janet Jennings’ ‘Sit Down WithMe Awhile’ in this Resound film from the Dr John Gallagher Concert Chamber. Audio recorded by Atoll(producer Wayne Laird, sound engineer Simon Lear). https://youtu.be/sAkTwmqec98
     

  • 2018 performance of “A Bird, a Fruit and a Beast” by Janet Jennings. https://youtu.be/WDBChj8ooi4
     

  • 2017 Masterclass with Catrin Johnsson, The Independent Theatre, Sydney: https://youtu.be/4D7IZbVVI_w
     

  • 2021 Catrin Johnsson conducts an ensemble of singers from New Zealand Opera, in a performance of Hineraukatauri, a waiata written by Dame Hinewehi Mohi and Jaz Coleman, for World Opera Day. https://youtu.be/ti3GowX4PAI

Rachel Fuller

ARAM, M.Mus (RAM)

Rachel built her career as a collaborative pianist based in London between 1997 and 2015. She currently works part time as a Professional Teaching Fellow at the University of Auckland. She works as a piano tutor, vocal coach, chamber
music tutor, collaborative pianist and lecturer. Rachel maintains a freelance career teaching and performing both nationally and internationally. Originally from Christchurch, Rachel studied with Rosemary Stott and Dierdre Irons
(University of Canterbury) before completing her training at the Royal Academy of Music in London with Michael Dussek and Tatiana Sarkissova. She also studied cello with Alexander Ivashkin (University of Canterbury) and was a member of the Christchurch Symphony Orchestra during her training.


Rachel has performed as a collaborative pianist in leading venues such as The Queen Elizabeth Hall, St Martin-in-the-Fields, the London Coliseum and St John’s Smith Square. Rachel has accompanied leading international singers in concert including tenors Keith Lewis and Simon O’Neill, baritone Jeffrey Black, dramatic soprano Turid Karlsen and mezzo sopranos Yvonne Fontane and Catrin Johnsson. She has worked as vocal accompanist in the teaching studios of internationally renowned artists such as Dame Kiri te Kanawa and Yvonne Kenny, Keith Lewis and the late Anthony Rolfe Johnson. As recitalist she has performed in France, Norway, Sweden, Italy and throughout Europe.


Rachel worked as an audition accompanist for The Royal Opera House, Covent Garden, and as a répétiteur, vocal coach and diction coach for contemporary opera productions in the Linbury Studio of the Royal Opera House. She has also worked with leading British opera companies including: Diva Opera; Opera Della Luna; London Opera Players; Opera East; and London Festival Opera with repertoire including: operas by Mozart, La Fille du Regiment, The Barber of Seville, L’Italiana in Algeri, La Boheme, Fidelio, Tosca and Turandot.

 

Connections to Scandinavia led her to work as a répétiteur, vocal coach and chorus coach for operatic productions as well as accompanist for opera gala performances and recitals. For Opera i Kristiansund she was central to the success of their productions of Donizetti’s Lucia di Lammermoor (2014/2015) and Giuseppe Scarlatti’s opera Dove è amore è gelosia (2013/2014) where she also provided continuo (harpsichord) for the performances.


Further work in Norway includes Turandot for Opera Nordfjord (March 2014). In 2011 she became the Musical Director of Åmot Opera Gard’s Opera Festival in Bygstad, Norway. Her first production there of Purcell’s Dido and Aeneas in 2011 was favourably received by critics and public alike. In August of 2012 she directed from the harpsichord an international cast of singers and instrumentalists in performances of Händel’s opera Orlando.


Rachel has performed chamber music repertoire extensively and has made several tours for Chamber Music New Zealand. Since her return to New Zealand, Rachel has been in demand as a chamber musician and has performed with violinists Leo Phillips, Andrew Beer, violist Serenity Thurlow and cellists Ramon Jaffé and Edith Salzman as well as flutist Luca Manghi, oboist Celia Craig and bassoonist Selena Orwin. She has performed extensively as pianist and harpsichordist at the Akaroa Festival and for the Kristiansund chamber music festival in Norway as well as harpsichordist and répétiteur for the Auckland Philharmonic Orchestra.

In London Rachel taught piano at all levels at leading London schools – St. Pauls’ Boys School, Latymer Upper School and Richmond-Upon-Thames-College. In her private studio she has taught piano and cello for over 20 years. Rachel worked for Morley College on their Opera Programme as a vocal coach, répétiteur and accompanist. She has worked as an accompanist and vocal coach for the Kiri Te Kanawa Foundation in the UK and continued her work for the Foundation in New Zealand coaching singers on their young artist programme.


For the New Zealand Singing School Rachel has been a guest tutor since 2007 and in 2017 was made Principal of Faculty and Curriculum and led the school together with Catrin Johnsson and Judy Bellingham in January 2019. She also coordinated and taught the trainee accompanist programme.


For New Zealand Opera Rachel has worked as a répétiteur with the chorus for L’Elisir d’Amore (2018) and Semele (2020); as accompanist and music director she toured with the 2018 Emerging Artists for the school’s production of L’Elisir d’Amore; as vocal coach she has worked with the Dame Malvina Major Foundation Studio Artists 2019/2020/2021. She acted as surtitle operator for the productions of the Magic Flute (2016, 2018) and Bonefeeder (2017), The Barber of Seville (2019)as well as Ihitai ‘Avei’a/Star Navigator and Le Nozze di Figaro (2021). In 2020, Rachel acted as répétiteur and performer for the very successful tour of Eight Songs for a Mad King by Peter Maxwell Davies.

 

Rachel is passionate about helping pianists in New Zealand develop skills as collaborative pianists. She initiated the ‘Collaborative Pianists of New Zealand’ Facebook page to support NZ pianists, she teaches collaborative piano from undergraduate to Masters level at the University of Auckland and in July 2019 presented the Choral Accompanists Programme for Choral Connect. She regularly presents for organisations such as IRMTNZ on developments in collaborative piano training and shares knowledge through her presentation ‘Not just an accompanist’.


In 2022 Rachel performed ‘The Sacred Veil’ for chorus, solo cello and piano by Eric Whitaker in Auckland and Wellington with the composer conducting. In 2023 she was Chorus Director for the Christchurch Symphony Orchestra’s performance of Carmina Burana. She also made her debut with the New Zealand Symphony Orchestra in performances of their Fiesta Espagnole programme conducted by Pablo Gonzalez. She was also vocal coach and harpsichordist for the University of Auckland’s production of Dido and Aeneas.

Rachel
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