Fiona Kimm

Mezzo-soprano

Fiona Kimm
REVIEWS

Auntie: Baa Baa Black Sheep - Chandos Records

“…the savage, vicious Auntie of Fiona Kimm, a triumph of the portrait of evil.”

American Record Guide

 

Mrs Herring: Albert Herring / Opera North

“Fiona Kimm’s fine Mrs Herring – rounded and more likeable than the usual matriarchal ogre.”

The Daily Telegraph

 

“Fiona Kimm portrayed Mrs Herring as less of a dragon than usual, but she was formidable nevertheless.”

Opera

 

“Kimm is heartbreaking in her Act 111 scene as she laments Albert’s (apparent) death.”

Opera Britannia

 

“It is good to welcome back Fiona Kimm as the put upon ever-worrying Mrs Herring. We need her in Leeds more often.”

The York Press

 

Mrs Bentson: Lakmé / Opera Holland Park

"Fiona Kimm offered a nice cameo as an aristocratic English matron."

The Financial Times

 

“The smaller roles are neatly sketched in, with particular standouts from Fiona Kimm as the prissy governess Mistress Bentson and from Andrew Dickinson as Lakme’s loyal servant Hadji.”

The Stage

 

“Fiona Kimm makes a mark as Mrs Bentson…”

Sunday Express

 

Jezibaba: Rusalka / English Touring Opera

“There are some fine performances…Fiona Kimm the witch who brings them (Rusalka and the Prince) together at a hideous price…”

The Guardian

 

“…formidable as the witch-like Jezibaba.”

Evening Standard

 

Contessa di Coigny & Madelon: Andrea Chénier / Opera North

"A splendid Fiona Kimm."

Bachtrack

 

"Outstanding among a uniformly excellent cast are (i.a.) two pre- and post-Revolution doubles – Fiona Kimm as the imperious Countless and the heartbreakingly patriotic old woman giving up her last remaining grandson for her country...."

Huddersfield Daily Examiner

 

"Fiona Kimm doubles spectacularly as an imperious Contessa and an impoverished grandmother..."

Opera

 

“Fiona Kimm gave a moving performance as the aged Madelon…”

Opera Now

 

"The company has persuaded several artists to double up, none more successfully than Fiona Kimm, who portrays a haughty but chic Countess di Coigny in Act I, following up in Act III with a touching account of Madelon, the elderly blind woman who offers up her only grandson to fight for the embattled revolutionary cause."

The Stage

 

“Downplaying any sense of romantic melodrama, Arden focuses on the violence and paranoia of Robespierre’s Paris, drawing from the chorus and soloists such as Fiona Kimm (doubling as a Countess and a wretched proletarian) and Daniel Norman (as an Abbé and a turncoat) strongly etched portraits of both its victims and persecutors.”

The Telegraph

 

“As well as her striking Contessa, Fiona Kimm gives a heartbreaking performance as old Madelon, who gives away her last surviving grandson to fight for the Revolution. It’s a gift of a scene and this expert ensemble artist grabs it without excessive histrionics. “

The Sunday Times

 

“There is period dancing too, and the choreographic dimension is enhanced by stylised gestures from the main characters — particularly Fiona Kimm as the monstrous Contessa di Coigny, epitomising the hauteur of the ancien régime when she remarks of her mutinous servant: “Learning to read has destroyed that man.”

The Times

 

"Excellent cameo roles from Fiona Kimm."

The Yorkshire Post

 

"It was an inspired idea to have Fiona Kimm play two contrasting casualties of the same conflict. First an imperious Contessa and later a heartbreaking Madelon, she becomes an emblem of victimhood."

What’s On Stage

 

Henze: Voices / London Sinfonietta

“Alive to its many-faceted vocal demands, and not afraid to enter into the spirit of the settings when the need arose, her total identification with even the more outré of Henze’s musical treatments was undeniable.”

Classical Source

 

“Kimm’s megawatt charisma – all flashing eyes, electric chest voice and glitzy show-must-go-on vulnerability – is the sort that you associate with Liza Minnelli. Give this girl a one-woman show at Madam Jo Jo’s immediately!”

The Independent

 

Kabanicha: Katya Kabanova / English Touring Opera

“The night’s standout performance is Fiona Kimm...”

Evening Standard

 

“The singing and acting are impeccable. Linda Richardson's tall, willowy Katya bends and buckles with guilty desire for Richard Roberts's handsome, troubled Boris, while Fiona Kimm's Kabanicha hides a genuine sadism beneath a veneer of morality.”

The Guardian

 

“Fiona Kimm was truly chilling as the acrid Kabanicha…”

Opera

 

“Mezzo Fiona Kimm was a truly despicable Kabanicha – and I mean that in the most complimentary sense. Like her Jezibaba in last Autumn’s Rusalka, there was a grandeur to her stage presence which defied her petite stature.”

Opera Britannia

 

“Fiona Kimm’s implacable Kabanicha makes a striking impact on her every appearance.”

The Stage

 

“Fiona Kimm’s stern and unforgiving portrayal makes the most of the opportunity and hits just the right note.”

What’s On Stage

 

Rose Parrowe: Taverner / NMC CD

“Fiona Kimm’s bell-like Rose Parrowe…”

Classical Source

 

“Fiona Kimm sings the challenging role of Rose Parrowe (and briefly the Virgin Mary) with an expressive range of vocal colours.”

Klassik.com

 

Arnalta: The Coronation of Poppea / Opera North

“…Fiona Kimm’s Arnalta particularly impressive.”

The Arts Desk

 

"Fiona Kimm is a commanding presence as Poppea's nurse Arnalta."

Bachtrack

 

“…the most tender musical contribution comes from Fiona Kimm as Poppea’s nurse, whose sublime lullaby is the only number in the entire opera that does not seem to be motivated by naked self-interest."

The Guardian

 

“Some of the best arias, however, go to Nero’s tutor Seneca (a convincingly tweedy James Creswell) and Poppea’s nurse Arnalta (Fiona Kimm), and in both cases their performance was impeccable.”

The Journal

 

“Fiona Kimm excels as Poppea’s nurse Arnalta – getting off to a severe start, concerned about her mistress and then ending, demob happy, looking forward to tossing away her pink rubber gloves for ever to become a lady.”
The Observer

 

‘Fiona Kimm as Poppea’s aged fusspot nurse creates a riveting character study; Kimm’s rich mezzo tones have matured like fine wine.”

Opera Britannia

 

"Fiona Kimm was a highly personable Arnalta, making the role more serious but still with a touching regard for her mistress." and that her final aria was "a comic masterpiece of delivery."

Planet Hugill

 

“…Fiona Kimm’s knowing and worldy-wise Nurse…”

What’s On Stage

 

Marcellina: Le nozze di Figaro / Scottish Opera

“Fiona Kimm - the Marcellina, who looks like an intoxicating amalgam of Ava Gardiner, Sophia Loren and Gina Lollobrigda - runs away with the show, even without her aria.”

The Sunday Times

 

Mastrilla: La Périchole / Garsington Opera at Wormsley

“There are Three Cousins of the Peruvian aristocracy whose presence in he plot is inexplicable (to me at any rate), but they sing two gorgeous waltzes, and Garsington engaged three experienced stars to do them justice: Jennifer Rhys-Davies, Fiona Kimm and Diana Montague.”

Opera

 

“The roles of the Three Cousins themselves, bar proprietors of indeterminate vintage but sparky manner, provide eagerly seized cameo parts for Jennifer Rhys-Davies, Diana Montague, and Fiona Kimm.”

Oxford Times

 

“Mark Wilde as Panatellas and Simon Butteriss as Don Pedro, assigned many diverse tasks by the Viceroy, were quite outstanding in the realisation of their roles as were some famous names, Jennifer Rhys-Davies, Diana Montague and Fiona Kimm as the cousin sisters of the inn.”

Seen and Heard

 

Ma: House of the Gods / Music Theatre Wales

“Fiona Kimm as the raddled Goddess, Ma, is simply superb.”

Evening Standard

 

The Abbess: Suor Angelica / Opera North

“…the many cameo roles in the large cast were all strong and characterful: among them Fiona Kimm…”

The Guardian

 

“Fiona Kimm made an imperious Abbess…”

Opera

 

Ellipsis De Selby: The Virtues of Things / Royal Opera, London

“There’s a glorious romp of a performance from Fiona Kimm as Ellipsis, revelling in her descent into madness…”

The Arts Desk

 

“Shining particularly brightly was Fiona Kimm…”

Opera

 

“…Fiona Kimm judging the role of the eccentric Ellipsis de Selby to a nicety.”

The Guardian

 

“Fiona Kimm’s increasingly unhinged, often scene-stealing Ellipsis…”

Opera Today

 

“Fiona Kimm’s deliciously dotty Ellipsis is one highlight (and she has all the vocal equipment for the role’s wide range, from contralto to soprano).”

Seen and Heard International

 

Hata: The Bartered Bride / Opera North

“..the marvellous Fiona Kimm is terrific…”

The Arts Desk

 

“Particularly notable amongst the other characters is Háta, Jeník’s unpleasant mother: Fiona Kimm turns her effortlessly into a real viper.”

Bachtrack

 

“Fiona Kimm as Háta, the aforementioned mother, creates a formidable and blowsy figure to add to her gallery of gorgon roles.”

Opera Britannia

 

“…there is luxury casting for the parents…with Fiona Kimm, magnificently malevolent…”

What’s On Stage

 

Baba the Turk: Glyndebourne Touring Opera

“Fiona Kimm’s Baba the Turk, adorning Glyndebourne Touring’s poster for many weeks now, is a gem, sung without parody and vividly acted; her farewell scene was touching.”

The Financial Times

 

Governess: The Queen of Spades / Opera North

“…Fiona Kimm was a formidable Governess.”

Opera

 

Azucena: Il trovatore / Stowe Opera

“…a masterly asset in the outstanding character mezzo Fiona Kimm, who brought to the gypsy Azucena – as besotting and bewitching as Carmen – the kind of visual fire and vocal power, notably a superb low register, one looks for on the national opera stage, where Kimm is an acclaimed regular.”

Music & Vision

 

First Norn: Götterdämmerung / Opera North

“The Norns and the three Rhinemaidens — quite a lot of acting from both trios, more than from anyone else — were resplendent.”

The Spectator

 

First Norn: Götterdämmerung / Opera North 2016

“There’s a lovely cameo from the veteran Fiona Kimm.”

The Guardian

 

Fricka: Die Walküre / Longborough Festival Opera

“Fiona Kimm’s Fricka - a commanding interpretation.”

Opera

 

Mrs Chin: A Night at the Chinese Opera

"There's not a weak link here with a luxury cast that includes Fiona Kimm doubling as the housekeeper and as an old crone..."

The Independent

 

"There were strong cameos from Tony Stafford-Allen (Chao Sun) and Fiona Kimm (Mrs Chin)...”

Opera

 

In Flanders’ Fields / Wigmore Hall

“Kimm’s recital programme was intellectually challenging, and greatly entertaining.”

The Daily Telegraph

 



DISCOGRAPHY

Berkeley Baa Baa Black Sheep (roles of Auntirosa and Baldeo)
with Eileen Hulse, Ann Taylor-Morley, Malcolm Lorimer, Philip Sheffield, William Dazeley, Mark Holland, George Mosley, Henry Newman, Clive Bayley
Opera North Chorus, English Northern Philharmonia c. Paul Daniel
Chandos CHAN 10186

Berlioz L'Enfance du Christ (role of Mary)
with Anthony Rolfe Johnson, William Shimell, Richard van Allan, Benjamin Luxon
English Chamber Orchestra c. Philip Ledger
ASV CDDCD452

Goldschmidt Beatrice Cenci (role of Bernardo)
with Roberta Alexander, Della Jones, Reinhard Beyer, Ian Bostridge, John David DeHaan, Endrik Wottrich, Simon Estes, Peter Rose
Berlin Symphony Orchestra c. Lothar Zagrosek
Sony S2K 66 836

Holt Sparrow Night, Shadow Realm, Canciones
with the Nash Ensemble
NMCD 008

Maxwell Davies Taverner (role of Rose Parrowe)
Michael Chance, Martyn Hill, David Wilson-Johnson
BBC Symphony Orchestra / Oliver Knussen
CD NMC D157

Turnage Greek (roles of Wife, Doreen, Waitress 1 and Sphinx 1)
with Helen Charnock, Quentin Hayes, Richard Suart
Ensemble c. Richard Bernas
Argo 440 368 2ZHO

Turnage On All Fours, Lament for a Hanging Man, Sarabande
with Martin Robertson, Christopher van Kampen
Nash Ensemble c. Martin Knussen
NMCD D024

Weill Street Scene (role of Olga)
with Dame Josephine Barstow, Angelina Réaux, Barbara Bonney, Arleen Augér, Della Jones, Jerry Hadley, Samuel Ramey
Scottish Opera Chorus and Orchestra c. John Macueri
Decca 433 371 - 2

In Flanders' Fields
with Andrew Ball (Piano)
Quartz QTZ 2038

AUDIO / VIDEO
Fiona Kimm sings Monteverdi: The Coronation of Poppea - Arnalta’s Lullaby