“The chief sources of hilarity were the wicked trio of Angelina’s relatives - Patrick Carfizzi as the overconfident stepfather, Don Magnifico, and soprano Katherine Henly and mezzo-soprano Rachel Barg, who perfectly portrayed Angelina’s mocking, self-obsessed stepsisters…...Henly threw herself around the stage yet sang with clarity and beauty as Clorinda.”
“Benjamin Dutcher and Siena Forest as Rodolfo and Mimi are the heart of the piece with their touching love story, while Tony Potts and Katherine Henly provide the spice and the spark in Marcello and Musetta's tumultuous relationship.”
“On opening night, he was matched marvelously by Katherine Henly’s Musetta, delivered with an almost over-the-top sense of abandon that made her magnetic. Her saucy second-act aria was a joy, her third-act tete-a-tete with Marcello full of snarling passion.”
“Finally, in Sam Kaplan and Rose Maurrant, we discover two of the most promising American singers... Radiant physically and vocally, very moving also in the farewell scene, Katherine Henly, is not to be outdone in that of her beloved - a performance all the more impressive under the circumstances. The very young American soprano, passing through Cologne, had indeed replaced in the last minute a suffering colleague during several rehearsals - without having yet sung the role on stage before. The Cologne Opera thanked her with a performance that marked both her European debut and her acting debut. A career definitely to follow.”
“Shining brightest is actress Katherine Henly, who plays La Musica. Covered in gold dust, each and every word she delivers is accompanied by a smile, with her voice and finesse captivating the entire Clarke Theater. Moreover, her gorgeous costume, designed by senior Madison Ryckman, is a goddess’s garment. Its long and gentle flow perfectly matches the angelic beauty of Henly herself.”
"Though each was amazing in his or her own right, it was Katherine Henly whose voice stayed with the audience. She sang with such beauty and emotion that though her words were foreign, there was no doubt as to their meaning.”
"Henly sparkled in her coloratura moments in the late songs of the piece, making her appearance as an Ethel Merman-like exponent of Broadway show numbers in the next part of the program all the more startling."
WORCESTER TELEGRAM & GAZETTE