Opera News calls her “a natural actress…with thrilling, laser-like focus” and “luminous tone.” Opera magazine praises her “stunningly rich mezzo.” With a career that takes her throughout the U.S. and Europe, the “powerhouse” mezzo-soprano Katharine Goeldner is recognized as one of today’s finest artists.

Katharine returned this season to her native Iowa, where she was heard in Mahler’s Das Lied von

der Erde with the University of Iowa Symphony. She performed the Verdi Requiem with the Jacksonville Symphony, Fricka in Die Walküre in Augsburg, Germany, Brigitta in Die tote Stadt in Toulouse, France, and reprised her triumphant Ma Joad at Michigan Opera Theatre.

Recent performances include her Minnesota Orchestra debut as Herodias in Richard Strauss' Salome;  Mahler’s Symphony No. 3 with Orchestra Iowa; Dalila in Samson et Dalila at Virginia Opera and

Amneris in Aida at Utah Opera. She created the role of Jackie Onassis in David T. Little and

Royce Vavrek’s JFK, and starred at Opera Theatre of Saint Louis as Ma Joad in the premiere of the revised version of Ricky Ian Gordon and Michael Korie's The Grapes of Wrath

With bull’s-eye pitch and exquisitely controlled dynamics, Goeldner’s voice shines throughout, with her upper register occasionally

blasting through with great dramatic effect...

Richmond Times-Dispatch, Andy Garrigue




Katharine is thrilled to be returning to the Santa Fe Opera this summer, as Mme. Larina in “Eugene Onegin,”a role she has performed with Michigan Opera Theatre, Hawaii Opera Theatre, and Lyric Opera of Chicago.’s annual Wilde Awards honored Katharine with the David DiChiera award for best performance in an opera for her performances as Ma Joad in

The Grapes of Wrath at Michigan Opera Theatre.



On October 15, 2020, Katharine will be performing Berio's Folk Songs with the Mozarteumorchester, under the baton of Lin Liao. The performance will be held at the Orchesterhaus in Salzburg, Austria. 


She takes some thrilling risks, pushing the

voice for dramatic effect, and the results are often electrifying.

But Katharine can also draw you in with sustained, floated pianissimi,

so private and delicate that she breaks your heart.

It is not often we are privileged to witness such a

perfect marriage of artist and role.

Opera Today, James Sohre