As per our current Database, Katherine Ciesinski is still alive (as per Wikipedia, Last update: May 10, 2020).
Currently, Katherine Ciesinski is 74 years, 1 months and 9 days old. Katherine Ciesinski will celebrate 75rd birthday on a Monday 13th of October 2025. Below we countdown to Katherine Ciesinski upcoming birthday.
| Popular As | Katherine Ciesinski |
| Occupation | Actress |
| Age | 74 years old |
| Zodiac Sign | Libra |
| Born | October 13, 1950 (Newark, Delaware, USA) |
| Birthday | October 13 |
| Town/City | Newark, Delaware, USA |
| Nationality | USA |
Katherine Ciesinski’s zodiac sign is Libra. According to astrologers, People born under the sign of Libra are peaceful, fair, and they hate being alone. Partnership is very important for them, as their mirror and someone giving them the ability to be the mirror themselves. These individuals are fascinated by balance and symmetry, they are in a constant chase for justice and equality, realizing through life that the only thing that should be truly important to themselves in their own inner core of personality. This is someone ready to do nearly anything to avoid conflict, keeping the peace whenever possible
Katherine Ciesinski was born in the Year of the Tiger. Those born under the Chinese Zodiac sign of the Tiger are authoritative, self-possessed, have strong leadership qualities, are charming, ambitious, courageous, warm-hearted, highly seductive, moody, intense, and they’re ready to pounce at any time. Compatible with Horse or Dog.
The New York Times called Katherine Ciesinski "a singer of rare communicative presence, and a musician of discrimination and intelligence." This accomplished American mezzo-soprano pursues a fully integrated career, exploring the world of today's composers as well as the established classics of the lyric stage.
Major operatic credits include three Metropolitan Opera productions: Judith (Bluebeard's Castle) and Nicklausse (Les Contes d'Hoffmann) and most recently Comtesse de Coigny (Andrea Chenier); Cassandre (Les Troyens) at Covent Garden and Adalgisa (Norma) with Scottish Opera: Laura (La Gioconda), Waltraute (Ring cycle), and Dulcinée (Don Quichotte) with San Francisco Opera; Octavian (Der Rosenkavalier) and Hansel (Hansel und Gretel) with Dallas Opera; Kabanicha (Katya Kabanova), Mère Marie (Carmélites), Adelaide (Arabella), Marcellina (Le Nozze di Figaro), and Cornelia (Giulio Cesare) with Houston Grand Opera; Xerxes (title role), Diana (La Calisto), Herodias (Salome), Ottavia (L'Incoronazione di Poppea), and Countess Geschwitz in the American premiere of the completed three act version of Lulu with Santa Fe Opera.
World premieres of Mark Adamo's Little Women (Houston), Dominick Argento's The Aspern Papers (Dallas), Maurice Ohana's La Celestine (title role, Paris Opera), Girolamo Arrigo's Il Ritorno di Casanova (Geneva), Param Vir's Snatched by the Gods (Amsterdam and Munich) have been critically acclaimed, as have her Giulietta in Brussels, Brangäne in Toronto, Judith in Frankfurt and Stuttgart, Eboli in Madrid and La Favorite in Paris.
This past year she performed the world premiere of The End of the Affair by Jake Heggie with Houston Grand Opera, which will be broadcast nationally on NPR's World of Opera. She also appeared as Aunt Cecilia March in her sixth production of Mark Adamo's delightful Little Women (Mexico City), as Effie Belle Tate in Carlisle Floyd's masterpiece Cold Sassy Tree (Opera Omaha), and as the Principessa in Puccini's Suor Angelica (Opera Theater of Saint Louis).
Most recently, she sang song cycles of Prokofiev and Shostakovich in a multi-media concert entitled The St. Petersburg Legacy with Da Camera of Houston in residence at the Bard Music Festival in New York.
Ms. Ciesinski has also performed with many of the world's leading orchestras, including the Cleveland, Minnesota, and Philadelphia Orchestras, the Symphonies of Chicago, Boston, San Francisco, Houston and Toronto; and in Europe, with the Berlin and Vienna Philharmonics, L'Orchestre de Paris, the London Symphony Orchestra, the Dresden Staatskapelle, and L'Orchestre de la Suisse Romande.
She has been heard in recital across the United States and in Paris, Cologne, Zurich, Milan and at the Aix-en-Provence, Geneva, Spoleto and Salzburg Festivals. Her contemporary chamber music activities have included performances at the Caramoor Festival, New York; Musica Festival, Strasbourg; Ars Musica Festival, Brussels; Festival d'Automne, Paris; Voix Nouvelles, Fondation Royaumont; Schlern International Festival in Italy, and with the Ensemble Intercontemporain in Paris.
Katherine Ciesinski's opera recordings include the title roles in Ariane et Barbe-Bleue, conducted by Armin Jordan (Erato), Regina, under John Mauceri (London/Decca), Sapho, conducted by Sylvain Cambreling (Radio France), the role of Siegrune in Cleveland Orchestra's Die Walküre, conducted by Christoph von Dohnanyi (London/Decca), and the role of Sonia in War and Peace, conducted by Msitislav Rostropovich (Erato).
She received a Grammy nomination for her Paulina in The Queen of Spades with Seiji Ozawa and the Boston Symphony (BMG). Recent releases include Aunt Cecilia March in Mark Adamo's Little Women (Ondine), Sofia Ivanova in Tod Machover's Resurrection (Albany) and Alt Solistin in Kurt Weill's Die Bürgschaft (EMI).
Les Noces with Robert Craft and Pribaoutki with the Orchestra of St. Luke's (Music Masters), Carter's Syringa (Bridge), along with world premiere recordings of Brian Ferneyhough's On Stellar Magnitudes and Antoine Bonnet's Nachtstrahl in Paris, number among her choral and chamber music releases.
Lieder recordings include Rorem's Women's Voices (CRI), Ravel's Chansons Madécasses (Columbia), and songs of Dvorak, Alma Mahler and Clara Schumann (Leonarda). One of the few master performers to also become a master teacher, Ms.
Ciesinski is a frequent clinician at the annual International Symposium on Care of the Professional Voice in Philadelphia. She created the Vocal Workshop for the annual International Composition Seminar at the Royaumont Foundation in France, and the vocal chamber institute Close Encounters for the Texas Music Festival.
She continues to lecture in and serve on the steering committee for the University of Texas School of Public Health's Healthcare and the Arts Series, and this summer was invited to join the faculty of the third Encuentro Artescenica in Mexico.
She is Professor of Voice and Chair of Voice Studies at the Moores School of Music, University of Houston. Some of her recent students have joined the faculties of Michigan State University, the University of California San Jose, and apprentice programs at the Des Moines Metro, Orlando, and the Santa Fe Operas.
