Katharine Goeldner had her Utah Opera debut as Amneris, the daughter of the Pharaoh. Goeldner’s voice has a lovely lower register, and she adeptly showed all the facets of Amneris – her love for Radamés, her regal fire as the daughter of the king, and her sorrow and remorse as the tragic events unfold.
- The Utah Review, Sarah Neal
On opening night, their roof-raising vocal power, balanced with their sensitivity to the text, made for a compelling love triangle.
- The Salt Lake Tribune, Catherine Reese Newton
Of the three principals, Katharine Goeldner’s Amneris stood out with tone as golden as her detailed gown, designed by Alice Bristow, and displayed equally refined dramatic acumen. It was difficult not to root for Goeldner’s highly developed character during the second act’s “Fu la sorte dell’ armi,” even as she ruthlessly turned against Aida upon detecting the latter’s feelings for Radamès.
- Opera News, Robert Coleman
Bard Summerscape 2015
Katharine Goeldner unfurled her stunningly rich mezzo as Thirza in a gutsy, thrilling performance.
- Opera, Eric Myers
As Pascoe’s wife, Thirza, Katharine Goeldner proved herself a natural actress, and her powerhouse mezzo cut with thrilling, laser-like focus in her Act II aria; her heroine emerged as the performance of the night.
- Opera News, Adam Wasserman
Katharine Goeldner fully mastered the high-lying mezzo role of Thirza, giving heat to that duet.
-The New Yorker, Alex Ross
Thirza, sung with gleaming tone by Katharine Goeldner in a terrific performance...Goeldner brings out Thirza’s affectionate side with handsome lyricism.
- Musical America, George Loomis
On paper, the juiciest roles are for Mark and Thirza, and the lush, soaring voices of British tenor Neal Cooper and American mezzo Katharine Goeldner were made for the roles.
- Broadway World, Richard Sasanow
We’ll not hear a finer performance of this work again soon...The sincere, professional cast is led by British tenor Neal Cooper as Mark and mezzo Katharine Goeldner as Thirza. Almost the entire second act is a love-and-moral-conflict duet for the two which builds to several climaxes, and their voices rang clear and true throughout the 20-minute moody, passionate ordeal...The ovations were long and hearty.
- Bachtrack, Robert Levine
Das Lied von der Erde
The Royal Ballet, Covent Garden
The best work and the best dancers keep the art form alive; and renewed. Song of the Earth proves as much. It remains astonishingly original, a majestic fusion of Mahler’s orchestrated song cycle (gloriously performed by Katharine Goeldner and Thomas Randle) and Macmillan’s classical-cum-atavistic choreography.
-The Telegraph, Laura Thompson
It gives me nothing but pleasure to report that the playing of the Royal Opera House orchestra on this occasion under Barry Wordsworth was quite superb, showing clear relish for Mahler's composition and producing full tone in an unashamedly rich interpretation. Both vocal soloists distinguished themselves, not least Katherine Goeldner who eschewed the barn-storming approach of some heftier mezzo-sopranos in favour of something more intimate and carefully phrased. A vintage performance indeed on all levels.
-Classicalsource.com, G.J. Dowler
Tristan und Isolde, Brangäne
Katharine Goeldner enthralled us with her expressive mezzo-soprano and her masterful interpretation of Brangäne. With her performance this evening, the doors of all the great opera houses of the world should be open to her.
Katharine Goeldner begeisterte durch ihren ausdrucksstarken Mezzosopran und ihrer souveränen Gestaltung der Brangäne. Mit ihrer Leistung an diesem Abend sollten ihr wohl die Tore aller großen Opernhäuser der Welt offen stehen.
-Der neue Merker, Harald Lacina
Carmen, Title Role
Lyric Opera of Chicago
The New York City Opera
Katharine Goeldner’s Carmen has been widely praised, and it’s easy to see why. She’s a delectable creation: sexy and intelligent, alive to musical and dramatic detail. She moves beautifully, without surrendering to hip-shaking cliché, and she plays a mean castanet. This Carmen is richly amused by (and a bit incredulous at) her power over men.
-Opera News , William V. Madison
Katharine Goeldner, as Carmen, is herself singing more and more at the Met, and with reason: she has a fine, firm voice and knows how to wield it.
-The New York Times, Anne Midgette
The Turn of the Screw, Mrs. Grose
Opéra de Lyon
The sumptuous Mrs. Grose of Katharine Goeldner was luxury casting in this supporting role.
La Mrs Grose généreuse de Katharine Goeldner, luxe d’une telle présence vocale dans un emploi secondaire,
-Altamusica.com, Yannick Millon
Believable also Katharine Goeldner in the role of Mrs. Grose, a rich and sweet voice used effectively to depict the most humble and grounded character in the story, who later repents her silences.
Credibile anche Katharine Goeldner nel ruolo di Mrs. Grose, una voce rotunda e dolce, impegnata eddicacemente nel tratteggiare il personaggio più terreno e umile della storia che tardivamente si pente del suoi silenzi.
-Operaclick.com, Adalberto Ruggeri
Anna Bolena, Giovanna Seymour
The Metropolitan Opera
Welsh National Opera
We have a captivating, dramatically superb, Katharine Goeldner as her rival Jane Seymour.
-walesonline.com, Mike Smith
More richly and evenly endowed from a vocal point of view, Katharine Goeldner demonstrated why Henry VIII, had he been judging on voice alone, might have preferred Giovanna Seymour to Anna Bolena; the American mezzo sailed through much of her music with strong and luminous tone.
-Opera News, George Hall
As Giovanna Seymour, Katharine Goeldner conveyed well the anguish at being another victim of Enrico’s manipulative ways, and her duet with Farnocchia’s Anna in the first scene of Act 2 demonstrated a feistiness on both their parts which made this a high point in the opera.
-Opera, Rian Evans
But the best things in the opera are not solo arias but explorations of relationships, above all that of Anne Boleyn and Jane Seymour (Anna Bolena and Giovanna Seymour as they are in Felice Romani’s libretto). Their long scene together in Act II, is the most intense episode in the opera (and it is constructed somewhat episodically) and Farnocchia and Katharine Goeldner did full justice to it – their ‘dialogue’ perfectly paced and climaxed, their two voices, Goeldner’s a little fuller and more tonally various than Farnocchia’s purer soprano, combining and counterpointing perfectly…Serena Farnocchia’s interpretation of the title-role and her interaction with Katharine Goeldner’s Giovanna Seymour will, I am sure, live long in my memory.
-Seen and Heard International, Glyn Pursglove
Orfeo ed Euridice, Orfeo
Goeldner, making her Arizona Opera debut, was fabulous in her first stab at the role of Orfeo. She is an enormous talent who has sung with the Metropolitan Opera, Lyric Opera of Chicago, Covent Garden in London and with orchestras throughout the world. We got the best of her talent on Sunday; a shimmering and radiant voice with impeccable enunciation of the Italian text and acting so commanding that you were convinced she was a deeply heartbroken man. The most impressive part of her performance was her stamina. She was in every scene and sang several arias including the heartbreaking “Che faro senzo Euridice?”
-Arizona Daily Star, Cathalena E. Burch
Ariadne auf Naxos, The Composer
Paris, Opéra du Chatelet
Goeldner gave a performance of thrilling commitment coupled with big-scale singing. There have been mezzos who sang the role more endearingly, but few who sang it so potently.
-Opera News, Stephen Mudge
Opera de Oviedo
Madama Butterfly, Suzuki
Lyric Opera of Chicago
As Butterfly’s faithful servant Suzuki, American mezzo-soprano Katharine Goeldner, making her Lyric debut, also created a character with depth. Her voice was ample and rich. Taking Pinkerton’s measure with a cool glance, she also understood and respected Butterfly’s strict code of honor.
-Chicago Sun Times, Wynne Delacoma
American mezzo-soprano Katharine Goeldner makes an impressive Lyric Opera debut as Suzuki, Butterfly’s maid. The two female leads are perfectly matched in the famous “Flower Duet.”
-Chicago Daily Herald, Bill Gowen
The impressive American mezzo-soprano Katharine Goeldner introduced a firmly sung Suzuki whose doleful facial expression suggested she knew from the beginning the tragedy that would befall her mistress.
-Chicago Tribune, John von Rhein
New York City Opera
Cosi fan tutte, Dorabella
The Santa Fe Opera
Lucrezia Borgia, Orsini
Opéra de Monte-Carlo
Particularly impressive, though, was the American Katharine Goeldner in the trouser role of Maffio Orsini; she brought to mind the premiere in 1833 at La Scala in Milan, when the mezzo-soprano also stole the show from the title role. It was difficult to decide which was more impressive: her outstanding stage presence and embodiment of a callow youth, or her vocal perfection. Her exquisite, warm timbre with a metallic nuance in the lower register, rich but always refined, in combination with a fresh and lively performance hard to surpass, predestined her for this role, a perennial audience favorite. At last we have a singer with charisma to admire.
-Opernglas, W. Kutschbach
The New York City Opera
The real vocal star is Katharine Goeldner as the knight Ruggiero, giving as spectacular a demonstration of mezzo-soprano coloratura virtuosity as you are likely to hear anywhere today.
-New York Magazine , Peter G. Davis
In the trouser role of Ruggiero, Katharine Goeldner, a young American mezzo-soprano previously unknown to me, was stunning — “boyishly” beautiful of manner, alive to every nuance of one of Handel’s richest heroic roles. A woman sitting next to me who’s highly placed in the music business whispered, “She has it all.”
-The New York Observer , Charles Michener