Whether it’s her “surprisingly engaging talent for comedy” (The Merry Widow, Ladue News), or her “knack for physical comedy” (Falstaff, St. Louis Post-Dispatch), one thing is true: Kathy Pyeatt loves using her “blazing upper register to good effect as she bullies her minions into submission” (Albert Herring, Opera News). Although, Kathy is not all fun and games; it has been said that she is capable of “a stunning emotional display” (Tosca, Classical Voice North Carolina) and even, dare we say, “passionate in the extreme” (La Traviata, Pioneer Press). One thing is clear, it’s not like she just “suddenly became important and mature, attuned to every harmonic and emotional nuance” (The Abduction from the Seraglio, Milwaukee Journal Sentinel) overnight.  No, this lady has been working in the business a long time, in fact, some might say she doesn’t even need to sing, she can be “most impressive in her portrayal of the character through tone, expression and even her presence on stage when not singing" (Annelies, Herald Tribune). Yet, “Pyeatt is blessed with a remarkably clear and strong voice, and when combined with her intense emotional identification with the lyrics, it makes for a stellar performance” (Chants d'Auvergne, Rockford Registrar Star). “Genuine triple threats are hard to come by in this line of work. Kathy Pyeatt appears to be one” (Gypsy Love, Chicago Tribune).

Kathy loves portraying interesting women, some of her favorites include Floria Tosca, Hanna Glawari, Rosalinda, Donna Elvira, Fiordiligi, Constanza, Lady Billows, and Violetta. She also likes nice people and cool places and has particularly enjoyed working with Asheville Lyric Opera, Florentine Opera, St. Petersburg Opera, Winter Opera St. Louis, Skylight Opera Theatre, Natchez Opera Theatre, and Opéra Louisiane, to name a few. And while becoming someone else to tell a story is thrilling, there is nothing quite like having the best seat in the house in front of an orchestra to breathe life into a composer’s music. Some of her most cherished moments include performing Strauss’ Four Last Songs, Verdi's Requiem, Whitbourn's Annelies, Samuel Barber's Knoxville: Summer of 1915, and Mahler’s Fourth Symphony with the incredible musicians at the Rockford Symphony Orchestra, Central Wisconsin Symphony Orchestra, Sarasota Key Choral and the Festival City Symphony, respectively.

This summer Kathy is excited to return to her favorite place on earth to perform with the Peninsula Music Festival in Door County, Wisconsin. She was last seen at PMF as Donna Elvira in a concert version of Don Giovanni. This season she will be performing in two concerts featuring the works of Bernstein, Bach and Handel.

While Kathy finds her onstage work truly gratifying, she is probably more proud of her work supporting and mentoring young singers through her positions as President of Supporters of Opera Singers, Director of the Metropolitan Opera National Council – Wisconsin District, and as the Education Consultant for the Opera Company of North Carolina during the building of their Educational Outreach and Young Artist Program.

A recent transplant to Salt Lake City, Kathy is truly finding “life elevated” in Utah!  As an avid outdoors woman, nary a day goes by that she is not out on a trail hiking, biking, or skiing, either solo or with her husband, daughter, naughty chocolate Labrador, Mocha, and/or newly adopted rescue pup, Chloe.