He began his studies as a mezzo-soprano in New Zealand, but later, after studying in England, he changed his consideration by the soprano voice.

Since his debut in English opera companies with roles as Idamante, the opera Idomeneo W. A. Mozart, Ellen at the opera La Donna of Rossini Gioachinno Lake, or the opera Carmen by Bizet, with the Northern Opera, his career has been virtually unstoppable. Among his biggest hits include the role of Countess Almaviva, the opera The Marriage of Figaro by Mozart, a role he played in 1971 and has remained in his repertoire throughout his career.

In addition to this repertoire, Kiri Te Kanawa has represented some papers belonging to the Italian tradition of verismo, which starts with Giuseppe Verdi and ends with composers such as Giacomo Puccini. The latter include characters like Mimi in Puccini's opera La Bohème, the protagonist of the opera Tosca, the same composer, or Desdemona, leading lady of the opera Otello, Verdi composed.

Kiri Te Kanawa has specialized in various roles belonging to the French and German repertoire, most notably that of Margaret of the opera Faust, Gounod, and several of those in the works of Johann Strauss, one of his favorite composers.

Moreover, some critics argue that the best voice of this soprano is expressed in the operatic characters belonging to the tradition of primitive belcantismo of Italian origin, which is crowned with the figure of Rossini, but expressed in a very particular style in the operas of Mozart.

This type of role seems to be the best suited to a voice like his, dense and rich timbre, but not heavy, but some critics accuse him of not being sufficiently precise in diction, both in the English language, French and German. Despite the "darkness" of his natural timbre, it is possible that the voice of Kiri Te Kanawa to be classified as "low projected", a trait that is directly related to the lack of delicacy in the articulation of the texts.