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KATHERINE HENLY
PRESS
“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.”
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“Katherine Henly as Musetta had the audience in the palm of her hand as much as her on-again, off-again lover Marcello, and together their warm, heady voices washed over us.”
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“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.”
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“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.”
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“And what was so striking…was her sense of fun and humor — like life was a bit of a joke — a cherry on top of a luscious ice cream mound of acting and singing talent.”
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“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.”
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RESMUSICA ONLINE
“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.”
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THE ITHACAN
"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.”
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UVU REVIEW
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"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."
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WORCESTER TELEGRAM & GAZETTE
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“The Woman is the central character and is on stage non-stop. Katherine Henly gave a tour-de-force performance in the role, stretching her essentially lyric soprano to thrillingly dramatic extremes, and making very pointed use of her impressive upper register. The traditional opera repertory offers lyric sopranos few roles of such unbridled intensity, and Henly made the most of this one.”
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OPERA WITH OPERA NEWS
“Soprano Katherine Henly gave a towering performance as the Woman. The role is as demanding as any in the repertoire with a wide-ranging tessitura and constant emotional and vocal hairpin turns. One minute, Henly sang bursts of coloratura that were the vocal equivalent of a panic attack and, in the next, she blazed when expressing her fears and, later, her defiance. It was, however, the sound of Henly’s voice when she was singing as softly as imaginable that pierced the soul. The integrity and emotional honesty that she brought to this difficult role were impressive.”
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“Ms. Henly threw herself fully into Woman’s vocal and emotional turmoil. With Woman left alone at the end and her decision made for her, her haunting contemplation of a future in which “the sidewalks will be rivers again” captured the opera’s sorrowful ambivalence in the face of an impossible choice.”
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THE WALL STREET JOURNAL
“Here, one woman (Katherine Henly, tireless in a role with equal demands on her voice and acting skills) is whisked from scene to scene, like a latter-day Wozzeck.”
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THE NEW YORK TIMES
