Kezia Bienek

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British born and of Mauritian and Lithuanian heritage, Kezia moved to London from Gloucestershire aged 16 to study musical theatre at the Brit School. During that time, she was drawn to opera and went on to study at the Guildhall School of Music and Drama. She completed her studies at the Benjamin Britten International Opera School of the Royal College of Music (RCM) in 2015. Kezia is a Solti Te Kanawa Academia di Bel Canto alumna, and worked with many wonderful singers in various masterclasses during her training years, notably Brigitte Fassbaender, Dame Kiri Te Kanawa, Sir Richard Bonynge and Sir Thomas Allen.

Current and most recent engagements include the title role in Carmen and Beppe L’amico Fritz for Opera Holland Park, Suzuki Madam Butterfly for Welsh National Opera and Silvia Orfeo at Opera North.

She was a member of the Glyndebourne Chorus from 2015-17, and went on to make her Glyndebourne Festival début as Cornelia in David McVicar’s iconic Giulio Cesare, conducted by William Christie, and later that year as Dorothée Cendrillon (directed by Fiona Shaw) in her début for Glyndebourne on Tour. In 2019 she appeared as Second Lady The Magic Flute for her Welsh National Opera début , where she soon returned to sing Forester’s Wife (and cover Fox) Cunning Little Vixen. Further engagements at WNO included Rosina (cover) Il Barbiere di Siviglia and Octavian (cover) Der Rosenkavalier, both postponed due to Covid-19.

Other opera engagements have included La frugola Il Tabarro and Gianetta Don Bucefalo (Wexford Festival Opera), Miss Jessel Turn of the Screw (Barnes Festival), Iside Giove in Argo and Tauride Arianna in Creta (London Handel Festival), Concepcion L’heure Espagnole and Doralice La gazzetta (RCM) Marcellina Le nozze di Figaro (British Youth Opera) and Dido Dido and Aeneas (Glyndebourne Youth Opera). She has covered major roles for English National Opera, Glyndebourne Festival, Glyndebourne On Tour, Scottish Opera, Welsh National Opera and English Touring Opera.

Kezia is based in East London. Amidst the cancellation of opera contracts in 2020, she trained as a Birth and Postnatal Doula, and has been supporting clients both privately and through charities.

Carmen - Carmen - Opera Holland Park

Keiza Bienek was a lithe and attractive Carmen, with a lovely strong, focused middle and lower register. Her famous solos were all finely and seductively sung, yet there was a sense of performance, of her putting on a show and hiding her real self. She was clearly an independent woman, with plenty of humour in her attitude to men, sexuality was part of her armoury rather than her defining characteristic. The Act Three card trio was finely delivered from the fore-stage, Bienek's strong, serious tone contrasting with the light charm of Agarwal and Edmonds, yet this was just a strand to Carmen's personality, she lived in the moment. In Act Four, Bienek's Carmen revelled in the attention and the end was certainly not fatalistic, this Carmen struggled.

Planet Hugill (June 2022)

Carmen, Seville’s great seductress, is sensuously sung by mezzo-soprano Kezia Bienek

Culture Whisper (June 2022)

Where Stinton’s rethink leaves its strongest impressions is not only in Bienek’s finely tuned, thoughtfully sung account of the iconic role – delivered without vocal roughness or dramatic cliché ...

The Stage (June 2022)

Kezia Bienek is a charismatic Carmen at the mercy of Don José’s obsessive control in Cecilia Stinton’s cogent and pacey new production.
Bienek’s charismatic, incisive-sounding Carmen shines

The Guardian (June 2022)

Striding about the stage, Kezia Bienek is all about power, rather than sex. Her Habanera is less a come-on than a lead-on, a musical game at the expense of the men who surround her. Bienek’s Carmen commands the stage. Wary and cool in her movements, her even-toned mezzo does the seducing, showing some heat in the Seguidilla, but at its best in the sterner lines of the “card aria”, En vain pour éviter.

The Telegraph (June 2022)

Kezia Bienek’s portrayal is excellent as, with her engaging mezzo-soprano that is as alluring as it is secure, she laces the central image of an icy cold seductress, who knows she does not actually have to try in order to ensnare men, with so many other emotions.

Music OMH (June 2022)

Suzuki, Madam Butterfly, Welsh National Opera

Yet the strongest female presence on stage is perhaps that of Kezia Bienek’s Suzuki, emotional and empathetic, imposing and kind at the same time, a truly stand-out performance.

Art Scene in Wales (March, 2022)