'... a superb company of performers - Catherine Carter, Kate Symonds-Joy, Lucy Goddard, Callie Swarbrick and Oskar McCarthy - offer everything the piece demands. The singing is exceptional, expecially in the face of a score of such unusual complexity'. Alexandra Coghlan reviewing Triptych at the Print Room in Opera
Her 'expressive, rippling, aggressive performance has the children in wide eyed communion, even though the aria is sung in the original French. Her acting and singing command ultimate attention in the intimate sparse setting.' Sean Watson on The Bad Mood at Spitalfields
‘An outstanding realisation by mezzo-soprano Catherine Carter’ review of my recording of 'Aria' on John Cage Early Electronic Music with The Langham Research Centre for SubRosa, Klaus Hübner, Neue zeitschrift für musik
'Catherine Carter was wonderful as the wounded Dido, her spirits slowly breaking until her Lament - ”When I am laid in earth” - which was stunning. The church added an ethereal quality to her mature voice. She was the perfect match for Oskar McCarthy’s hot-blooded Aeneas.' www.fringeopera.com
'...featured a beautifully untethered aria by Catherine Carter as she whirled through the space' Review of Langham Research Centre gig at Cafe Oto in Freize.
'You almost take for granted the abundance of virtuosity standing inches from you. A woman in an ushers uniform will suddenly belt out a complex operatic aria.' **** Review of John Cage MusiCircus at ENO in The Guardian.
'if you’ve ever wanted to see an opera-singing chav, Catherine Carter plays it brilliantly.'
Review in Gay Times of Menotti's 'The Medium' at The King's Head Theatre.
'I feel the mini tragedy of making a relationship with something for it then to be immediately broken, which is an echo of the tragedy of the broken relationships which happen in the piece.'
Review of The Difference Engine in Bellyflop magazine.
'The final work and “piece de resistance” was Vivaldi’s Gloria in which the vocal soloists were magnificent, especially the mezzo solo in the Dominus Deus, Agnus Dei.' Review of Corsley Festival Choir concert in The Wiltshire Times.
Her 'expressive, rippling, aggressive performance has the children in wide eyed communion, even though the aria is sung in the original French. Her acting and singing command ultimate attention in the intimate sparse setting.' Sean Watson on The Bad Mood at Spitalfields
‘An outstanding realisation by mezzo-soprano Catherine Carter’ review of my recording of 'Aria' on John Cage Early Electronic Music with The Langham Research Centre for SubRosa, Klaus Hübner, Neue zeitschrift für musik
'Catherine Carter was wonderful as the wounded Dido, her spirits slowly breaking until her Lament - ”When I am laid in earth” - which was stunning. The church added an ethereal quality to her mature voice. She was the perfect match for Oskar McCarthy’s hot-blooded Aeneas.' www.fringeopera.com
'...featured a beautifully untethered aria by Catherine Carter as she whirled through the space' Review of Langham Research Centre gig at Cafe Oto in Freize.
'You almost take for granted the abundance of virtuosity standing inches from you. A woman in an ushers uniform will suddenly belt out a complex operatic aria.' **** Review of John Cage MusiCircus at ENO in The Guardian.
'if you’ve ever wanted to see an opera-singing chav, Catherine Carter plays it brilliantly.'
Review in Gay Times of Menotti's 'The Medium' at The King's Head Theatre.
'I feel the mini tragedy of making a relationship with something for it then to be immediately broken, which is an echo of the tragedy of the broken relationships which happen in the piece.'
Review of The Difference Engine in Bellyflop magazine.
'The final work and “piece de resistance” was Vivaldi’s Gloria in which the vocal soloists were magnificent, especially the mezzo solo in the Dominus Deus, Agnus Dei.' Review of Corsley Festival Choir concert in The Wiltshire Times.