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Mozart Die Entführung aus dem Serail (Konstanze) in Clermont-Ferrand, Avignon, Rouen, Massy, Reims

 

“Également lauréate du Concours international de chant de Clermont-Ferrand 2017, Katharine Dain est la révélation de cette soirée. Sa voix ample et soyeuse, ses phrasés souples et son timbre chaleureux se révèlent dès son premier air. Son interprétation subtile semble donner envie à l’Orchestre de l’Opéra de Massy (et au chef Dominique Rouits) de se surpasser. La jeune soprano allie puissance dramatique et grande agilité vocale, sans jamais trahir le style mozartien. Sa maîtrise devient incontestable lors de son air du deuxième acte “Traurigkeit ward mir zum Lose” où sa grande musicalité s’exprime au travers d’une belle palette de nuances : elle prend le temps d’interpréter son rôle, ce qui n’est pas souvent le cas à l’opéra.”
A laureate of the Clermont-Ferrand 2017 International Voice Competition, Katharine Dain is the revelation of the evening. Her ample and silky voice, supple phrasing and warm timbre are apparent from her first aria. Her subtle interpretation seemed to inspire the Massy Opera Orchestra (and the conductor, Dominique Rouits) to surpass themselves. The young soprano marries dramatic power and enormous vocal agility without ever stepping outside of Mozart’s style. Her authority becomes absolute during her second-act aria “Traurigkeit ward mir zum Lose,” in which her enormous musicality is expressed across a beautiful palette of nuances: she takes the time to interpret the role, which is not often the case in opera.”
–Anne Heijboer, Olyrix, 28 May 2018

 

“La distribution est dominée par la Konstanze de Katharine Dain, qui chante toutes les notes avec grande musicalité et affronte sans complexe la virtuosité impossible de l’air Martern aller Arten.”
The cast was dominated by the Konstanze of Katharine Dain, who sang every note with great musicality and confronted with ease the impossible virtuosity of Martern aller Arten.”
–Irma Foletti, Anaclase, 23 February 2018

 

“On a bientôt l’émerveillement d’entendre des coloratures idéalement précises et des phrasés de rêve, dans un crescendo d’inspiration qui ne s’interrompra plus. Ses airs de douleurs sont les sommets de la soirée.”
“We soon experience the marvel of hearing coloratura of ideal precision and phrasing like a dream, in an unending crescendo of inspiration. Her tragic arias were the highlight of the evening.”
–Emmanuel Andrieu, Opera Online, 22 February 2018

 

“Katharine Dain, soprano américaine au lyrisme clair et pur, passe des tons les plus chauds aux notes les plus aigües avec une belle aisance, elle offre au personnage de Konstance toute la sincérité du rôle.”
“Katharine Dain, an American soprano of clear and pure lyricism, moves from the warmest tones to the highest notes with beautiful ease. She brings to the character of Konstanze all the sincerity the role requires.”
–Marianne Millet, Paroles d’Opéra, 19 February 2018

 

“… hyper technicienne et flamboyante de passion vécue pour un ‘Martern alle Arten’ de haute volée. Cette autre lauréate du 25eme Concours de Chant déploie une projection radieuse, qu’elle sublime dans un ‘Ach, ich liebte’ aux fins aigus vertigineux d’une noblesse désespérée qui n’a d’égal que l’admirable puissance dramatique du ‘Welcher Wechsel.’”
“An extreme technician, blazing with passion in a first-rate ‘Martern aller Arten.’ This laureate of the 25th International Competition projects a radiant presence, sublimated from the slimmest vertiginous heights of ‘Ach, ich liebte’ to a desperate nobility which nothing can equal but the admirable dramatic power of ‘Welcher Wechsel.’”
–Roland Duclos, Forum Opera, 11 January 2018

 

“Sous la direction de Roberto Forés Veses, Katharine Dain, lauréate – et révélation – de la dernière édition du Concours Internationale de Chant de Clermont-Ferrand, brillera en haut d’une affiche éclatante de jeunesse.”
“Under the leadership of Roberto Forés Veses, Katharine Dain, laureate – and revelation – of the recent Clermont-Ferrand International Competition sparkles at the top of a dazzling roster of youthful talent.”
Diapason, 1 January 2018

Mozart Die Entführung aus dem Serail (Konstanze) in Clermont-Ferrand, Avignon, Rouen, Massy, Reims

 

“La distribution est dominée par la Konstanze de Katharine Dain, qui chante toutes les notes avec grande musicalité et affronte sans complexe la virtuosité impossible de l’air Martern aller Arten.”
The cast was dominated by the Konstanze of Katharine Dain, who sang every note with great musicality and confronted with ease the impossible virtuosity of Martern aller Arten.”
–Irma Foletti, Anaclase, 23 February 2018

 

“On a bientôt l’émerveillement d’entendre des coloratures idéalement précises et des phrasés de rêve, dans un crescendo d’inspiration qui ne s’interrompra plus. Ses airs de douleurs sont les sommets de la soirée.”
“We soon experience the marvel of hearing coloratura of ideal precision and phrasing like a dream, in an unending crescendo of inspiration. Her tragic arias were the highlight of the evening.”
–Emmanuel Andrieu, Opera Online, 22 February 2018

 

“Katharine Dain, soprano américaine au lyrisme clair et pur, passe des tons les plus chauds aux notes les plus aigües avec une belle aisance, elle offre au personnage de Konstance toute la sincérité du rôle.”
“Katharine Dain, an American soprano of clear and pure lyricism, moves from the warmest tones to the highest notes with beautiful ease. She brings to the character of Konstanze all the sincerity the role requires.”
–Marianne Millet, Paroles d’Opéra, 19 February 2018

 

“… hyper technicienne et flamboyante de passion vécue pour un ‘Martern alle Arten’ de haute volée. Cette autre lauréate du 25eme Concours de Chant déploie une projection radieuse, qu’elle sublime dans un ‘Ach, ich liebte’ aux fins aigus vertigineux d’une noblesse désespérée qui n’a d’égal que l’admirable puissance dramatique du ‘Welcher Wechsel.’”
“An extreme technician, blazing with passion in a first-rate ‘Martern aller Arten.’ This laureate of the 25th International Competition projects a radiant presence, sublimated from the slimmest vertiginous heights of ‘Ach, ich liebte’ to a desperate nobility which nothing can equal but the admirable dramatic power of ‘Welcher Wechsel.’”
–Roland Duclos, Forum Opera, 11 January 2018

 

“Sous la direction de Roberto Forés Veses, Katharine Dain, lauréate – et révélation – de la dernière édition du Concours Internationale de Chant de Clermont-Ferrand, brillera en haut d’une affiche éclatante de jeunesse.”
“Under the leadership of Roberto Forés Veses, Katharine Dain, laureate – and revelation – of the recent Clermont-Ferrand International Competition sparkles at the top of a dazzling roster of youthful talent.”
Diapason, 1 January 2018

Orff Carmina Burana with Koorbiennale Festivalkoor & Arthur & Lucas Jussen, Concertgebouw Amsterdam, 2017

 

“…het korte ‘Dulcissime! Ah!’, dat door de invallende sopraan Katharine Dain hemelsmooi werd gezongen”

“the short ‘Dulcissime! Ah!’, was sung with heavenly beauty by stand-in soprano Katharine Dain”

–Franz Straatman, Place de l’Opéra, 24 August 2017

Strauss Der Rosenkavalier (Marschallin) with Opera by Request, Toronto, 2017

 

“Katharine Dain was an unusually youthful Marschallin, lovely in the Act One Monologue. At the close of the act, her line “…da drinnist die silberne Ros’n” with its arching high piano was beautifully done, as was the opening line of the Final Trio.”

–Joseph So, Musical Toronto, 12 June 2017

Bach St. Matthew Passion with Choir of King’s College Cambridge and the Academy of Ancient Music, Cambridge, 2017

 

“Soprano Katharine Dain’s delivery of the plaintive, tender melody, ‘Aus Liebe, Aus Liebe’, with flute accompaniment, held everyone spellbound and caught at precisely its right moment the sheer depth of a sorrow that would only be finally alleviated by the warm reassurance of the aria, ‘Mache dich, mein Herze,’ sung with robust conviction by impressive bass, Brindley Sherratt.

–John Gilroy, Cambridge News, 12 April 2017

Andriessen Odysseus’ Women/Anaïs Nin with Nieuw Amsterdams Peil, Amsterdam, 2016

 

“Het vrouwenkwartet is geweldig … even moedig als confronterend.”
“The female quartet was terrific … courageous and confrontational.”
–Frits van der Waa, Volkskrant, 12 December 2016

 

“Ze zingen alle vier prachtig op de slepende en zuigende muziek die Louis Andriessen heeft geschreven … een heel spannende voorstelling.”
“All four sing beautifully the elongated and tugging music Louis Andriessen has written … a very exciting production.”
–Max Arian, Theaterkrant, 10 December 2016

Andriessen Odysseus’ Women/Anaïs Nin with Nieuw Amsterdams Peil, Amsterdam, 2016

 

“Het vrouwenkwartet is geweldig … even moedig als confronterend.”
“The female quartet was terrific … courageous and confrontational.”
–Frits van der Waa, Volkskrant, 12 December 2016

 

“Ze zingen alle vier prachtig op de slepende en zuigende muziek die Louis Andriessen heeft geschreven … een heel spannende voorstelling.”
“All four sing beautifully the elongated and tugging music Louis Andriessen has written … a very exciting production.”
–Max Arian, Theaterkrant, 10 December 2016

Shostakovich Romances of Alexander Blok with Nieuw Amsterdams Peil, 2016

 

“De uitvoering van de aanbegrijpende Romances … waarin de op het laatst ingevallen Katharine Dain de legendarische Galina Vishnevskaja voor wie het muziekstuk werd geschreven, bij momenten bijna benaderde.”

“A gripping performance … in which Katharine Dain, jumping in at the last minute, at times almost approached the legendary Galina Vishnevskaja, for whom the piece was written.”
–Roeland Hazendonk, Het Parool, 16 September 2016

Be With Me Now, Aldeburgh Festival, 2016

 

“The elusive heroine’s parallel crisis is resolved by Katharine Dain’s “I go to him” from Stravinsky’s The Rake’s Progress, a better performance than any I’ve heard in the opera house.”
–David Nice, The Arts Desk, 16 June 2016

Sarah’s Passion, Silbersee Opera, The Netherlands, 2016

 

“Vooral de durf van de zangers van Silbersee moet hier geprezen woorden. Sopraan Katharine Dain plukte zonder enkele moeite de hoogste tonen uit de lucht, puur en zuiver.”
“Above all, the courage of the singers of Silbersee should be praised. Soprano Katharine Dain effortlessly plucked the highest notes out of the air, pure and perfect.”
—Peter van der Lint, Trouw, 1 March 2016

 

“Vooral de stem van de sopraan Katharine Dain valt op door haar zuiverheid en haar indrukwekkende bereik.”
“The voice of soprano Katharine Dain, especially, is notable for its purity and impressive range.”
—Biëllla Luttmer, Volkskrant, 1 March 2016

Sarah’s Passion, Silbersee Opera, The Netherlands, 2016

 

“Vooral de durf van de zangers van Silbersee moet hier geprezen woorden. Sopraan Katharine Dain plukte zonder enkele moeite de hoogste tonen uit de lucht, puur en zuiver.”
“Above all, the courage of the singers of Silbersee should be praised. Soprano Katharine Dain effortlessly plucked the highest notes out of the air, pure and perfect.”
—Peter van der Lint, Trouw, 1 March 2016

 

“Vooral de stem van de sopraan Katharine Dain valt op door haar zuiverheid en haar indrukwekkende bereik.”
“The voice of soprano Katharine Dain, especially, is notable for its purity and impressive range.”
—Biëllla Luttmer, Volkskrant, 1 March 2016

Beethoven Scottish and Irish Songs with Erard Ensemble, Amsterdam, 2015

 

“De Amerikaanse sopraan Katharine Dain vormde met haar zes Ierse en Schotse Volksliederen van Van Beethoven het hoogtepunt op deze avond. … Het plezier spatte van de expressieve uitvoering af. … Erg kleurrijk was het Schotse lied dat ze ter gehore bracht: Once more I hail thee. Een melancholisch lied over een verloren liefde. Uitgebalanceerd gebracht en vol ontroering.”

“The American soprano Katharine Dain, singing six Irish and Scottish Folk Songs of Beethoven, was the high point of the evening. … Pleasure radiated from her expressive performance. … Especially rich was a Scottish song, “Once more I hail thee,” a melancholy song about a lost love, in a balanced and extremely moving rendition.”
–Rudolf Hunnik, Cultureel Pers Bureau, 5 October 2015

West Cork Chamber Music Festival, Bantry, Ireland, 2015

 

“There was also a rare outing for Sofia Gubaidulina’s Hommage à T. S. Eliot, with soprano Katharine Dain deeply affecting in the purity she brought to an emotionally riveting work.”
—Michael Dervan, Irish Times, 8 July 2015

Lieder of Marx, Korngold, and R. Strauss, Concertgebouw Kleine Zaal, Amsterdam, 2015

 

“Ik kan me daarom goed de paniek voorstellen die bij de organisatoren en pianiste Reinild Mees toesloeg toen tenor Michael Schade zich een dag vóór het geplande concert in het Concertgebouw ziek meldde. Wat doe je in zo’n geval? … Een vervanger zien te vinden die de liederen paraat heeft en op zo’n korte termijn kan inspringen? Dat dat laatste gelukt is, mag een wonder heten. En het wonder heeft een naam: Katharine Dain. … Dain heeft een mooie, lyrische stem met een aangenaam timbre en een makkelijke hoogte. … In Marx’ ‘Selige Nacht’, wist de sopraan me tot tranen toe te roeren. Het lied is één en al ‘Sehnsucht’ en de combinatie van haar pure en zuivere stem met de onverholen erotiek in de tekst van Otto Erich Hartleben voelde als een schilderij van Egon Schiele in de gouden omlijsting van Klimt. Jugendstil ten voeten uit. Ik kende het lied in de uitvoering van Renée Fleming en geloof mij: de interpretatie van Dain deed mij meer. Als laatste zong Dain het bekende ‘Morgen’ van Richard Strauss. Het paste wel qua sfeer en Dain wist er absoluut raad mee.”

“I can well imagine the panic that struck the organization and pianist Reinild Mees when tenor Michael Schade fell ill one day before the planned recital in the Concertgebouw. What to do in such a situation? … Find a replacement who knows the songs and can jump in at such short notice? That they managed this is a miracle, and the miracle has a name: Katharine Dain. … Dain has a beautiful lyric voice with a pleasing timbre and an easy top. … In Marx’s “Selige Nacht,” the soprano moved me to tears. The song is all longing; the combination of her pure, clear voice and the undisguised eroticism in the text by Otto Erich Hartleben felt like a painting of Schiele in a golden frame of Klimt: Art Nouveau in a nutshell. I know the song via Renée Fleming’s performance, and believe me: Dain’s interpretation does more for me. In the end, Dain sang the famous “Morgen” of Richard Strauss. It fit the atmosphere perfectly, and Dain knew absolutely what to do.”
—Basia Jaworski, Place de l’Opera, 9 March 2015

Lieder of Marx, Korngold, and R. Strauss, Concertgebouw Kleine Zaal, Amsterdam, 2015

 

“Ik kan me daarom goed de paniek voorstellen die bij de organisatoren en pianiste Reinild Mees toesloeg toen tenor Michael Schade zich een dag vóór het geplande concert in het Concertgebouw ziek meldde. Wat doe je in zo’n geval? … Een vervanger zien te vinden die de liederen paraat heeft en op zo’n korte termijn kan inspringen? Dat dat laatste gelukt is, mag een wonder heten. En het wonder heeft een naam: Katharine Dain. … Dain heeft een mooie, lyrische stem met een aangenaam timbre en een makkelijke hoogte. … In Marx’ ‘Selige Nacht’, wist de sopraan me tot tranen toe te roeren. Het lied is één en al ‘Sehnsucht’ en de combinatie van haar pure en zuivere stem met de onverholen erotiek in de tekst van Otto Erich Hartleben voelde als een schilderij van Egon Schiele in de gouden omlijsting van Klimt. Jugendstil ten voeten uit. Ik kende het lied in de uitvoering van Renée Fleming en geloof mij: de interpretatie van Dain deed mij meer. Als laatste zong Dain het bekende ‘Morgen’ van Richard Strauss. Het paste wel qua sfeer en Dain wist er absoluut raad mee.”

“I can well imagine the panic that struck the organization and pianist Reinild Mees when tenor Michael Schade fell ill one day before the planned recital in the Concertgebouw. What to do in such a situation? … Find a replacement who knows the songs and can jump in at such short notice? That they managed this is a miracle, and the miracle has a name: Katharine Dain. … Dain has a beautiful lyric voice with a pleasing timbre and an easy top. … In Marx’s “Selige Nacht,” the soprano moved me to tears. The song is all longing; the combination of her pure, clear voice and the undisguised eroticism in the text by Otto Erich Hartleben felt like a painting of Schiele in a golden frame of Klimt: Art Nouveau in a nutshell. I know the song via Renée Fleming’s performance, and believe me: Dain’s interpretation does more for me. In the end, Dain sang the famous “Morgen” of Richard Strauss. It fit the atmosphere perfectly, and Dain knew absolutely what to do.”
—Basia Jaworski, Place de l’Opera, 9 March 2015

Claude Vivier Journal with Cappella Amsterdam, The Netherlands, 2015

 

“Onder de solisten viel vooral de sopraan Katharine Dain op. Haar heldere, warme stem gaf extra glans aan een gloeiend concert. Toen de tenor Scott Mello haar in het hiernamaals toefluisterde ‘Come, let’s go’, antwoordde ze met een sensueel ‘Ya!’ dat hoofden op hol brengt.”

“Of the soloists, soprano Katharine Dain was especially notable. Her clear, warm voice gave extra shine to a glowing concert. When the tenor Scott Mello whispered from the afterlife ‘Come, let’s go’, she answered with a sensual ‘Ja!’ that could bring you to your knees.”
—Guido von Oorschot, Volkskrant, 17 January 2015

West Cork Chamber Music Festival, Bantry, Ireland, 2014

 

“The Yeats settings of To a Child Dancing in the Wind by the late John Tavener – who, like Heaney, featured in the very first festival in 1996 – are much simpler, much more word-focused than the Gribbin, with harp, flute and viola often providing a simple brush-stroke style of background. Soprano Katharine Dain was pure and heart-piercing, singing as if the music might have been written just for her.”
—Michael Dervan, Irish Times, 1 July 2014

G. F. Handel Messiah with Christ Church Cathedral, Lexington, Kentucky, 2011

 

“Katharine Dain  … [sang] with a warm, colorful voice and great diction, thrilling runs, stunning high notes and full emotional display. She even sang the treacherous Rejoice Greatly with a beaming smile on her face, embodying the art on behalf of the audience, the way an artist is supposed to do.”
—Tedrin Blair Lindsay, The Lexington Herald-Leader, 3 December 2011

Francesco Cavalli Giasone with Opera Omnia, New York, 2011

 

“The soprano Katharine Dain sang affectingly as the abandoned Hypsipyle. … Crucially, the cast deftly navigated the border between slapstick and genuine emotion.”
—Vivien Schweitzer, The New York Times, 2 September 2011

 

“Katharine Dain sang and acted a richly nuanced Hypsipyle. Taking her cue from the line “Yes, I’m desperate, but I’m still a queen,” she brought a quiet sense of dignity to the proceedings, and literally brought Jason to his knees with her final lament.”
—Corinna da Fonseca-Wollheim, The Classical Review, 3 September 2011

 

“Ms. Dain brought a dewy quality to the love-struck Hypsipyle.”
—Paul Pelkonen, SuperConductor, 3 September 2011

Francesco Cavalli Giasone with Opera Omnia, New York, 2011

 

“The soprano Katharine Dain sang affectingly as the abandoned Hypsipyle. … Crucially, the cast deftly navigated the border between slapstick and genuine emotion.”
—Vivien Schweitzer, The New York Times, 2 September 2011

 

“Katharine Dain sang and acted a richly nuanced Hypsipyle. Taking her cue from the line “Yes, I’m desperate, but I’m still a queen,” she brought a quiet sense of dignity to the proceedings, and literally brought Jason to his knees with her final lament.”
—Corinna da Fonseca-Wollheim, The Classical Review, 3 September 2011

 

“Ms. Dain brought a dewy quality to the love-struck Hypsipyle.”
—Paul Pelkonen, SuperConductor, 3 September 2011

Arnold Schoenberg Pierrot lunaire with Lunatics at Large, New York, 2009

 

“The musicians are young, energetic and finely polished, with a sense of humor about their generally sober repertory. … [In Pierrot Lunaire,] Katharine Dain, the ensemble’s engaging soprano, gave as graceful, and as intense, a performance of Schoenberg’s stylized vocal line as you could want. She moved easily between its slides, whispers and more straightforward expressivity, as she also had earlier in the program, in Hanns Eisler’s Palmström, which uses a similar Sprechstimme style. In the Eisler Ms. Dain’s bright, light tone marked her as a soubrette. But she quickly countered that impression with the warm, almost mezzo-like sound she brought to Peter Kelsh’s appealing, neo-Romantic “When Shall We Set Sail for Happiness?”
—Allan Kozinn, The New York Times, 20 May 2009

Duets of Purcell, Couperin, and Cozzolani with Callisto Ascending, New York, 2008

 

“Callisto Ascending devoted its set to works celebrating the Virgin, most notably a lovely account of Purcell’s ‘Tell Me, Some Pitying Angel,’ in a passionate, almost operatic reading by Katharine Dain, the soprano. … Ms. Dain and Laurie Rubin, a mezzo-soprano, blended comfortably and projected with clarity and the kind of shaping that seemed rooted in the emotional currents of the texts.”
—Allan Kozinn, The New York Times, 30 September 2008

Franghiz Ali-Zadeh Three Watercolors, Mannes College, New York, 2007

 

“Soprano Katharine Dain sang with rich tone, investing her lines with deep emotion.”
—Steve Smith, The New York Times, 2 May 2007