As Ruth in The Pirates of Penzance, Atlanta Opera, with Santiago Ballerini (Frederick) & Craig Irvin (Pirate King)
Photo: Rafterman
“"Katharine Goeldner enthralled us with her expressive mezzo-soprano and her masterful interpretation..."
DER NEUE MERKER | HARALD LACINA
AMERICAN MOTHER
DIANE FOLEY
* WORLD PREMIERE
"The focus on the mothers means that the role of Diane Foley occupies the central position. A huge, eloquent, vocally differentiated and emotionally charged role, which the American mezzo-soprano Katharine Goeldner performs with admirable dedication, precision and credibility."
WESTFALLENPOST, PEDRO OBIERA
"The American mezzo-soprano Katharine Goeldner is ideally cast in the role of Diane Foley with her magnificent vocal and dramatic performance. Her full-bodied, slightly dark voice is very powerful and portrays the character as a self-confident, yet doubtful, very courageous and extremely impressive woman."
ONLINE MUSIK MAGAZIN, STEFAN SCHMÖE
Diane Foley, Theater Hagen
Photo: Volker Beushausen
GUNTRAM
OLD WOMAN
"In a score heavy on men’s voices, the mezzo-soprano Katharine Goeldner brought poignancy to the part of An Old Woman who alerts Guntram to the social iniquities oppressing the population."
CORINNA DA FONSECA-WOLLHEIM (June 2024)
"Katharine Goeldner etched the Old Woman’s despair and pain of having her husband and son killed, daughters dishonored, and her home destroyed at the hands of Duke Robert’s men with biting intensity."
NEW YORK CLASSICAL REVIEW, RICK PERDIAN (June 2024)
SAMSON ET DALILA
DALILA
Dalila, VA Opera, with Derek Taylor as Samson, Photo: Ben Schill
"The singing was outstanding, particularly the title roles…(Katharine Goeldner) offer(ed) her best in the glorious aria “Mon coeur s’ouvre à ta voix.” Here, Goeldner built her reading with subtle phrasing and shading that matched the text impeccably…The mezzo showed her dramatic intensity earlier in scenes with (the) High Priest, without resorting to overacting."
OPERA NEWS/OPERA, MARC SHULGOLD (May 2024)
"As Delilah, Katharine Goeldner regaled us with her rich, creamy mezzo-soprano that found lyrical luxuriousness in the opera’s two celebrated arias “Spring Blossoms” and “My Heart Opens to Your Voice.” These were compelling, magical and emotional moments, among the best to be heard. As the temptress, Goeldner was cold, calculating and devious, using her outer mask of sincere love to deceive and destroy Samson. Her Delilah was a delight to watch and a mighty exciting thing to hear."
THE VIRGINIA GAZETTE, JOHN SHULSON
"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 Goeldner’s singing as Dalila hit the spot. The mezzo sculpted melting phrases in “Printemps qui commence,” making distinctive use of portamento, and sustained a velvety quality throughout “Mon coeur s’ouvre a ta voix.” Goeldner played the role to the hilt, especially when it came to goading Samson, blithely filing her nails at one point during their Act II scene. (This Dalila changed hair colors nearly as often as Mrs. Slocombe in Are You Being Served? -- each new wig put one more spin on the vixen’s vain, deceptive nature.)"
OPERA NEWS, TIM SMITH
DER ROSENKAVALIER
ANNINA
"Thomas Ebenstein...and Katharine Goeldner made a deliciously slippery pair as Valzacchi and Annina."
NEW YORK CLASSICAL REVIEW, ERIC C. SIMPSON
"Playing Annina (was) Katharine Goeldner...snake-like in her movements, particularly as she begged Ochs for money after delivering the letter from Mariandel."
OPERAWIRE, DAVID SALAZAR
"Thomas Ebenstein and Katharine Goeldner skulked effectively as the blackmailers Valzacchi and Annina, the latter teasing memorably in the letter scene with Ochs."
NEW YORK CLASSICAL REVIEW, DAVID WRIGHT
Annina, The Metropolitan Opera, with Thomas Ebenstein as Valzacchi.
Photo: Karen Almond
“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."
OPERA TODAY | JAMES SOHRE
THE GRAPES OF WRATH
MA JOAD
Ma Joad, Detroit Opera, Photo: Ken Howard
"This role was such a perfect fit for Katharine Goeldner’s interpretive gifts, it is hard to know where Ms. Goeldner ended and Ma Joad began. Her Earth Mother presence swept all before it, barking orders one moment, comforting the sick another, healing the hurt as needed, and above all, trying to claw the family together with finger tips of steel. Here is a skilled vocalist with a sound technique who knows what her large, pointed mezzo-soprano can (and can’t) do. 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
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"Michigan Opera Theatre closed its (2018/2019) season with Ricky Ian Gordon’s The Grapes of Wrath….Mezzo-soprano Katharine Goeldner played Ma Joad, the emotional center of the family, with power and open-heartedness. Her early aria “(This Dead Land is) Us,” which launched the score’s most crucial melodic motives, was as warm and loving as a mother’s hug; her later “No One is Goin’” was an explosion of fire and despair. The story’s beating heart, Goeldner never faltered, her voice consistently stunning in this rare leading role for a mature mezzo-soprano."
OPERA NEWS, JENNIFER GOLTZ
"The linchpin of the story is Ma, the Joad family’s matriarch, who keeps her large family together for as long as she can; as sung by mezzo-soprano Katharine Goeldner, she’s a powerful presence (and voice) of considerable character."
ST. LOUIS POST-DISPATCH, SARAH BRYAN MILLER
AIDA
AMNERIS
"As Amneris, the daughter of Pharaoh, mezzo-soprano Katharine Goeldner rendered a superb performance. Her singing was flawless, distinguished by beauty and drama and connected seamlessly to the complex machinations of her character."
PEAKRADAR.COM, DAVID SCKOLNIK
"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
"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
Amneris, Utah Opera, with Jennifer Check as Aida and Marc Heller as Radamés
Photo: Heather King
FURTHER HIGHLIGHTS
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