Latest Developments
Megan Kahts’ first album will be released on 21 June under the label Solo Musica München and distributed internationally by Naxos. The album programme includes solo cantatas by G.F. Handel and J. Haydn and she is accompanied by the Carestini Ensemble Wien, playing on historical instruments and specialising in Historical Performance Practice – an ensemble she formed out of musician colleagues from Vienna, with whom she has closely worked on various baroque music projects.
In 2024 she makes her debut with the Jerusalem Symphony Orchestra, singing the roles of Susanna in le Nozze di Figaro and Orlofsky in Die Fledermaus on tour through Israel. In December she makes her debut in Vienna’s Musikverein Golden Hall singing a Christmas programme with the Cappella Istropolitana.

On the Operatic Stage
After having graduated from the University of Music and Performing Arts in Vienna as a soprano, Megan Kahts sang her first professional roles in the higher tessitura before exploring and slowly building her true vocal home in the mezzo soprano repertoire.
Megan was engaged for her first operatic roles as a young student in Vienna, Pretoria, Germany and elsewhere in Austria (singing Norina, Gretel, Adele, Cleopatra, Susanna etc. – all as a soprano), and has since then received critical acclaim in particular for the productions she has sung for the Neue Oper Wien and for Teatro Barocco in Laxenburg bei Wien and Altenburg, where she embodied the roles of Susanna, Despina and Bastienne by Mozart, as well as Hasse’s Tisbe (from Piramo e Tisbe) and Haydn’s Costanza (from L’isola disabitata). The Neue Oper Wien won the coveted Österreichischer Musiktheaterpreis in 2018 for their production of Pallas Athene weint by Krenek, in which Megan Kahts sang the role of Timaea, the Queen of Sparta, accompanied by Vienna’s Tonkünstler Orchestra under the baton of Walter Kobera.
She made her debut as a mezzo singing Haydn’s Costanza in Baden in 2018. She sang the role of Martha in the first performance of Wolfram Wagner´s opera Maria Magdalena for the Festival Retz in 2019.
After the pandemic,  she made her debuts as Cherubino in Le Nozze di Figaro and Ruggiero in Alcina for Cape Town Opera, as well as Donna Elvira in Don Giovanni for Theater an der Wien in Vienna’s Kammeroper and covering the role of Giustino in Vivaldi’s opera Il Giustino under the baton of George Petrou at the Drottningholm Slottsteater. In the summer of 2023 she made  her debut at the Bregenzer Festspiele in a newly composed opera by Fabian Panisello for the Neue Oper Wien, and 2024 takes her to Israel for the roles of Susanna in Le Nozze di Figaro and Orlofsky in Die Fledermaus.

On the Concert Stage
Equally at home on the Opera stage as she is on the Concert stage, Megan Kahts regularly gives Lieder recitals regularly (Wiener Lieder Herbst, Schubertiade Dürnstein, Imperial Talents Vienna, Johannesburg Mozart Festival, Songmaker’s Guild etc.), most recently on tour through South Africa together with German star pianist Daniel Heide.
As a “singing musician”, she is a sought-after singer of sacred music and oratorio repertoire, regularly performing the alto or mezzo soprano solo parts in Mozart, Haydn and Schubert masses in Vienna’s St Augustin and St Stephan’s Cathedrals, as well as guesting for other oratorio parts in concert halls across Europe.
She has embarked on a postgraduate programme in Historical Performance Practice under tenor KS Michael Schade and conductor Stefan Gottfried, in order to further hone her skills and scope of knowledge in Baroque singing technique and style.
Megan Kahts sang the world premiere of Peter Klatzow’s Three Sonnets for her recital debut for the Songmaker’s Guild in Cape Town. Her devotion to the German Lieder treasury, in particular with pianist Stephan Matthias Lademann, lies at the core of her musicianship.

Education and Awards
At Vienna`s MDW, Megan Kahts studied singing under Claudia Visca, Lied and Oratorio under KS Robert Holl and Opera under Beverly Blankenship and Peter Marschik, completing two Master´s degrees in Opera and Concert singing respectively, both with distinction.
She further honed her craft by participating in masterclasses with great artists and renowned pedagogues, most notably Michelle Breedt, Elly Ameling, Jeanette Favaro-Reuter, Annely Peebo and Alfred Burgstaller.
Between engagements, she was a prize winner at the Kammeroper Schloss Rheinsberg Singing Competition and at the first Aria Borealis Bodø Competition for Baroque Singing; as well as having won the First Prize at the International Hugo Wolf Lied Duo Competition in Sofia, Bulgaria and the Third Prize at the International Lied Duo Competition in Enschede. She won the Second Prize at the UNISA South African Bursary Competition and the First Prize at the Phillip Moore National Music Competition in Johannesburg.
She gained rich and diverse insights from the world´s top interpreters of Song during her special time as a young scholarship holder at the Schubert Institute in Baden bei Wien.

Musical Roots
Megan Kahts has performed in theatres and concert halls worldwide, her favourites including the Wiener Musikverein, Wiener Kammeroper, MüPa Budapest, Teatro Sociale of Trento, National Theatre of Sarajevo and the Tokyo Opera City Concert Hall.
She began her musical education at the age of eight, studying piano and music theory. At the age of 11, she made her concert debut as a singer with the Kwa-Zulu Natal Philharmonic Orchestra in Durban, South Africa, singing the “Alleluia” from Mozart’s Exultate Jubilate. At the same age she accepted a recording contract surprisingly offered to her directly after a concert performance, and henceforth, she released two CDs as a teenage soprano, for which she recorded repertoire from musicals, operas, oratorios, operettas and South African song. She has performed with various South African orchestras, in all the major South African concert halls, and has been featured on various television programmes.
Apart from her operatic and concert career in Austria, Megan Kahts has featured as a guest artist at prestigious events including the Kitz Race Party of the Hahnenkamm Rennen in 2019.
The same year, she sang alongside South African tenor Levy Sekgapane at the Opera Jewels Gala concerts at Montecasino in Johannesburg.
Having studied composition and continued with her piano studies into her early twenties, her approach to opera and concert singing alike is rooted first and foremost in the musical fabric, from which she draws joy, inspiration, drive and her interpretive message.