About

"The excellent soloist Fiona Kimm, seductive, scarifying, imploring by turn."

Fiona Kimm’s beautiful mezzo soprano voice and commanding stage presence have made her one of the most distinguished singers of her generation, with an extensive and eclectic operatic, oratorio and concert repertoire from Monteverdi to the present day.

 

“Fiona Kimm brought to 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.”

 

If you would like to get in touch with Fiona or her manager, James Black, please use the “Contact” link on the left of this website.

Biography

"A smouldering mix of fairy godmother and femme fatale."

Fiona Kimm’s beautiful mezzo soprano voice and commanding stage presence have made her one of the most distinguished singers of her generation, with an extensive and eclectic operatic, oratorio and concert repertoire from Monteverdi to the present day.

 

With impressive versatility, she has encompassed a broad spectrum of musical styles and dramatic characterizations. Her operatic roles include Sextus (“La Clemenza di Tito”), Hansel, Orlofsky, Dido (Purcell), Hermia, Julie (“Showboat”), Olga, Fyodor, Nicklaus, Baba the Turk, Wife/Sphinx/Doreen (“Greek”), Rosalind (“The Mines of Sulphur”), ClaironFrickaMistress QuicklyAzucenaUlricaKabanichaJezibabaMarcellina and Orfeo.

 

She has created roles in many World, European and British premieres, as well as performing in notable new productions, including the acclaimed Tarkovsky production of Mussorgsky’s “Boris Godunov“, Ian Judge’s production of “Faust“, The ENO “Rusalka” (Dvorak) and Peter Sellers’ Glyndebourne production of “Die Zauberflöte“.

 

She has performed the major oratorio roles internationally and has worked with distinguished conductors including Abbado, Downes, Haitink, Handley, Pritchard, Rozhdestvensky, and orchestras which include London Philharmonic Orchestra, Chicago Symphony Orchestra, London Sinfonietta, London Symphony Orchestra, Ensemble Modern, English Chamber Orchestra, Musique Oblique,  Lontano and The Nash Ensemble

 

As a recitalist, she performs with leading accompanists, among them, Andrew Ball, Iain Burnside, Wyn Davies. She has a wide-ranging recital repertoire of music in Russian, Italian, German, Spanish and French. With the latter she has a particular affinity, as she is half French. Her acclaimed recital at the Wigmore Hall entitled “In Flanders Fields”, explored music and conflict in the 20th Century.

 

Fiona has performed works by many contemporary composers including Boulez, Berio, Henze, Berkeley, Donatoni, Maw, Turnage, Carpenter, Goehr, Schnittke, Gubaidulina, Cowie, Harbison and Holt, and has had many pieces written specifically for her.

 

She is a regular broadcaster, and has made several television films, including the Thames Television production of “L’Enfance du Christ” (Marie), the award-winning B.B.C. production of “Greek“, several operas from Glyndebourne, and S.T.V.’s film of Elgar’s “Sea Pictures“. Her recordings include “L’Enfance du Christ“, Weill’s “Street Scene“, Simon Holt’s “Canciones“, Decca’s recording of “Greek“, Sony’s recording of Goldschmidt’s “Beatrice Cenci“, Turnage’s “Lament for a Hanging Man” with Oliver Knussen and the Nash Ensemble and Sir Peter Maxwell Davies’ “Taverner” for NMC.

 

She has appeared as soloist at many prestigious state events, including Command Performances, official memorial services and at conferences for visiting Heads of State.

 

Performances of note include “The Return of Ulysses” in Lisbon, Mistress Quickly for Garsington, the British premiere of “L’Arlesiana” at Holland Park, the world premiere of Simon Holt’s first opera for Opera North, Fricka in both “Das Rheingold” and “Die Walküre“, Azucena, Ulrica for COC in Toronto, Madame Larina for GTO and the world premiere of “Snow White” for the Nationale Reisopera. The CD recording of her recital programme, “In Flanders Fields” is available on the Quartz label.

 

During the 2009 – 2010 season, performances have included Jezibaba and Kabanicha for ETO, concert performances of Mussorgsky “Songs and Dances of Death” and Elgar “Sea Pictures”, Katerina Schratt in the Royal Ballet’s production of “Mayerling” in Tokyo and Annina in “Der Rosenkavalier” for Opera Zuid in the Netherlands. In 2011, she appeared as Agnes the Digger in “Fantastic Mr Fox” for ETO and in the world premiere of Stewart Copeland’s “Tell Tale Heart” for Opera Shots at the Royal Opera House.

 

She is currently working on “Queen of Spades” for Opera North.

 

You can read about Fiona on her Wikipedia entry.  If you would like to get in touch with Fiona or her manager, James Black,  please use the “Contact” link on the left of this website.

Critical Acclaim

"Fiona Kimm runs away with the show, even without her aria."

A selection of reviews from The Times, The Sunday Times, The Guardian, The Observer, The Daily Telegraph, The Sunday Telegraph, The Financial Times, The Independent, The Independent on Sunday, Opera Magazine, Opera Now, Time Out Magazine and others.

 

 

“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.”

 

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

 

“Fiona Kimm’s Jezibaba was a tour de force.”

 

“Fiona Kimm as the raddled goddess Ma is superb.”

 

“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 excellent soloist Fiona Kimm, seductive, scarifying, imploring by turn”.

 

“Again, it is the care with the words and the beauty of the voice that make Kimm such a valuable artist”.

 

“Fiona Kimm brings Azucena vividly to life through her voice – her lower register is used to particularly chilling effect”.

 

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

 

“…the production sprang to life – Fiona Kimm came on as Froufrou, and you could understand everything she sang”.

 

“Fiona Kimm as a smouldering mix of fairy godmother and femme fatale.”

 

“Fiona Kimm, as Julie, is so good that one resents that she hasn’t more to do”

 

“A flawless Larina”

 

“…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.”

 

“Fiona Kimm was a voluptuous soloist, tortured in her cry for love, compelling in her lowest range.”

 

“I don’t know why such a sexy voice gets to sing so many trouser roles but the result is piquant!”

 

“Fiona Kimm was a fluid vocalist, selflessly theatrical.”

 

“I was impressed with Fiona Kimm who is consistently excellent, both vocally and dramatically, in what ever character she portrays.”

 

“Kimm’s absorption in the Jocasta-like role of Eddy’s wife was emotionally intense.”

 

“Fiona Kimm’s Baba the Turk is a gem, sung without parody and vividly acted; her farewell scene was touching.”

 

“Fiona Kimm…explored some of these songs in association with others by Wolf, but revealed a most perceptive sense of their character as well as her familiar beauty of mezzo tone. Whether benevolent, passionate or aspiring in Schoenberg, and from sadness to humour in Wolf, she captured the spirit of her songs in a way that made one wish to hear her more often in this repertory.”

 

“Fiona Kimm’s Fricka – a commanding interpretation”

 

“Fiona Kimm ……combines technical excellence, a genuine involvement with the text and a poise and phrasal shape that is always musical. She was memorable in the Mahler, the highlight of the concert. From her there was an Expressionist realisation that pointed this music just that little nearer to Schoenberg – the stylistically-evolving final stages of Gurrelieder for instance………”

Repertoire

"A voluptuous soloist, tortured in her cry for love, compelling in her lowest range."

Fiona Kimm’s repertoire is extensive and eclectic. As well as roles on the operatic stage and in the concert hall, she is also an accomplished recitalist, with a large repertoire of songs across a wide range of music. In conjunction and in parallel with more traditional recital programmes, she is an entertaining after-dinner speaker, illustrating her talks with musical examples. She is particularly adept at tailoring programmes to suit specific requirements and occasions.

 

Her roles on the operatic stage include:

  • Alwyn: Kristen – Miss Julie
  • Britten: Mrs Sedley – Peter Grimes
  • Cilea : Rosa Mamai – L’Arlesiana
  • Copeland: Neighbour 2 - Tell Tale Heart
  • Dvorak: Jezibaba – Rusalka
  • Gluck: Orfeo – Orfeo ed Euridice
  • Holt: Markolfa – The Nightingale’s to Blame
  • Janacek: Kabanicha – Katya Kabanova
  • Kern: Julie – Showboat
  • Massenet: Thérèse – Thérèse
  • Mozart: Sextus – La Clemenza di Tito; 3rd Lady – Die Zauberflöte; Marcellina – Le Nozze di Figaro
  • Picker: Agnes the Digger – Fantastic Mr Fox
  • Purcell: Dido/Sorceress – Dido & Aeneas
  • J Strauss: Orlofsky – Die Fledermaus
  • R Strauss: Clairon – Capriccio; Annina – Der Rosenkavalier
  • Stravinsky: Baba the Turk – The Rake’s Progress
  • Turnage: Wife/Sphinx/Doreen – Greek
  • Verdi: Mistress Quickly – Falstaff; Azucena – Il Trovatore; Ulrica – Un Ballo in Maschera
  • Wagner: Fricka – Der Ring des Nibelungen

 

Her concert and oratorio performances include:

  • Bach: B Minor Mass
  • Beethoven: Missa Solemnis; 9th Symphony
  • Brahms: Alto Rhapsody
  • Britten: Spring Symphony
  • Dvorak: Stabat Mater
  • Elgar: The Dream of Gerontius; The Kingdom; The Music Makers; Sea Pictures (Watch on YouTube)
  • Handel: Messiah; Judas Maccabaeus
  • Mahler: Lieder eines Fahrenden Gesellen; 2nd Symphony; Kindertotenlieder
  • Mendelssohn: Elijah
  • Mozart: Requiem
  • Pergolesi: Stabat Mater
  • Prokofiev: Alexander Nevsky
  • Ravel: Shéhérazade
  • Rossini: Stabat Mater
  • Verdi: Requiem

 

Fiona’s contemporary performances include:

  • Alwyn: Miss Julie* (Kristen)
  • Berkeley: Baa Baa Black Sheep ** (Auntirosa)
  • Berio: Folk Songs
  • Boulez: Le Marteau sans Maitre
  • Carpenter: For Remembrance **; The One Alone **; 5 Songs by Elizabeth Barrett Browning**
  • Copeland: Tell Tale Heart ** (Neighbour 2)
  • Cowie: Kate Kelly’s Road Show **
  • Durko: Three English Verses ***
  • Henze: El Rey de Harlem; Voices
  • Holt: The Nightingale’s to Blame ** (Markolfa); Canciones
  • Maw: The Voice of Love; Roman Canticle
  • McQueen: East & West** (Iolanda)
  • Moret: Visitations (Electra)
  • Picker: Fantastic Mr Fox ** (Agnes the Digger)
  • Plowman: House of the Gods ** (Ma)
  • Schnittke: Seid Wacht und Nuchtern *
  • Turnage: Greek ** (Wife/Doreen/Sphinx); Lament for a Hanging Man; Greek Suite**; Songs from Greek**
  • Vir: Snatched by the Gods (Annanda)
  • Weir: A Night at the Chinese Opera  (Mrs Chin/Crone)
  • Williamson: The Feast of Euridice
  • * – UK Premiere<
  • ** – World Premiere
  • *** – Hungarian Premiere

 

Fiona’s recordings and films include

  • In Flander’s Fields (Quartz Music)
  • Berlioz: L’Enfance du Christ (Thames Television)
  • Dvorak: Rusalka (BBC Television)
  • Elgar: Sea Pictures (Southern TV)
  • Goldschmidt: Beatrice Cenci (Sony)
  • Holt: Canciones (NMC)
  • Mozart: Die Zauberflöte (Southern TV)
  • Ravel: L’Enfant et les Sortilèges (Southern TV)
  • Turnage: Greek – (Decca and BBC Television); Lament for a Hanging Man (NMC)
  • Weill: Street Scene (Decca)

Gallery

"An intoxicating amalgam of Ava Gardiner, Sophia Loren and Gina Lollobrigida."

Contact

"Again, it is the care with the words and the beauty of the voice that make Kimm such a valuable artist."

Contact Fiona:

 

Address: 15 Bedford Square, London, WC1B 3JA
Mobile: +44 (0) 7971 195 617
Landline: +44 (0) 20 3292 1525
Email: info@fionakimm.com
Direct: Click here to send a message from this website

 

 

Contact Fiona’s Management:

 

Company: James Black Management
Address: The Old Grammar School, High Street, Rye, East Sussex TN31 7JF
Landline: +44 (0) 1797 224668
Email: james@jamesblackmanagement.com