**Love and Opera: A Match Made in Italy**
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Soprano Kathryn Lewek and tenor Zach Borichevsky can credit their successful careers and marriage to the world of opera. Their journey began in 2013 at the prestigious international opera competition, Operalia, founded by acclaimed tenor Plácido Domingo, which brings together rising talents from around the globe. Interestingly, both artists secured third place in the competition, with Lewek also being awarded the audience prize and a coveted Rolex watch.
Following the competition, the pair maintained a casual friendship, primarily through social media. Their professional paths converged again in 2015 when they were cast as the tumultuous lovers Edgardo and Lucia in Gaetano Donizetti’s opera, *Lucia di Lammermoor*, at Opera Carolina in Charlotte, North Carolina. It was during this production that Lewek recalls falling “head over heels” for Borichevsky, leading to their marriage on July 1, 2017. The couple has since welcomed two children: Mackenzie, aged seven, and Charlie, aged four.
Both 42, Lewek and Borichevsky strive to take on roles that allow them to share the stage together whenever possible. However, when joint opportunities arise infrequently, they make concerted efforts to stagger their schedules to minimize the time spent apart from their family. This determination was evident at the start of the year when the family, who homeschool their children, spent an enriching three months in Europe while Lewek performed across cities such as Salzburg, Paris, and Brussels.
After their European sojourn, Borichevsky began rehearsals as Lieutenant Pinkerton in Puccini’s *Madama Butterfly* at Fort Worth Opera, highlighting the couple’s commitment to balancing career ambitions with family responsibilities. Lewek explains their approach, stating, “We do the best we can to make sure the family isn’t apart for very long periods… while it’s important that we make the right decisions for our careers, our family priorities also enter into our decision-making.”
Currently, Lewek is performing in France as Violetta in Verdi’s *La Traviata*, a role that has taken her away from the family base in Connecticut for six weeks. During her absence, Borichevsky is caring for their children while also covering the role of Alfredo in the same opera at the Metropolitan Opera. However, fans need not worry; the couple will reunite in June for a performance of Richard Strauss’s *Salome*, where Lewek will take on the titular role while Borichevsky plays Narraboth.
Throughout her illustrious career, Lewek has garnered widespread acclaim for her portrayal of the Queen of the Night in Mozart’s *The Magic Flute*. This notoriously challenging role has become a hallmark of her career, with Lewek achieving the distinction of having performed the role 85 times at the Metropolitan Opera, and over 350 times globally. Among her favourite recent performances at the Met include two productions interpreted by notable directors Julie Taymor and Simon McBurney, both of which captivated her for their innovative storytelling.
Lewek shared her unique perspective on keeping the Queen of the Night fresh; she humorously channels her “middle-aged woman rage” to bring authenticity to the character. More seriously, she values the experience of introducing newcomers to the operatic world: “Even if opera is not your thing, you’ve heard it [the Queen of the Night aria] in a Volvo commercial or somewhere,” she pointed out, noting the tune’s remarkable recognition.
In terms of their collaborative work, Lewek and Borichevsky have performed in numerous productions together. One of her fondest experiences was in a production of *Roméo et Juliette* in Toledo, Ohio, directed by a mutual friend in 2024, which allowed them to explore different aspects of love. Their most recent project in *La Bohème* as Rodolfo and Musetta presented a unique challenge, as their characters were not romantically linked—a first for the couple.
In a poetic twist, they have signed contracts to portray the iconic couple Mimì and Rodolfo in yet another production of *La Bohème* next year. The cyclical nature of their roles reflects the deep bond between their professional and personal lives.
Music runs deep in Lewek’s family history—her grandmother and mother were both involved in the operatic world, influencing her own path. As she recalls, a vocal coach recognised her talent early on, which further solidified her connection with opera. It was only with time that she fully appreciated the emotional depth of the genre, stating, “All roads led to opera for me.”
Borichevsky shares a similar narrative, having developed a passion for the operatic sound as a youth. He fondly remembers his admiration for legendary tenors such as Luciano Pavarotti and Andrea Bocelli, and credits his own voice teacher for laying the groundwork for his successful career. He succinctly expresses his motivations, stating, “I do it because it has a unique ability to communicate truths about life and about love that I’ve never experienced from any other kind of art.”
Together, Lewek and Borichevsky continue to balance their commitments in the operatic arena while nurturing their family, illustrating beautifully how love can flourish even amidst the demanding world of performance.