Catherine Naglestad
Soprano

“No doubt the whole package, her reputation here as an exceptional artist is well deserved, earning her a thunderous ovation.” (Online Merker, May 2015)

Contacts

Shirley Thomson +44 (0)20 3725 9173
Clare Erskine +44 (0)20 3725 9145

Biography

Praised for her instinctive and powerful dramatic interpretations and an enviable vocal versatility, Catherine Naglestad was honoured as Kammersängerin for exceptional artistic achievements by the German Ministry of Fine Arts and has won numerous additional accolades, notably Opernwelt’s Singer of the Year and Dallas Opera’s Maria Callas Debut Artist of the Year awards. Boasting a repertoire including many of the key roles by Verdi, Puccini, Richard Strauss and Wagner, Naglestad has performed in many of the world’s most prominent theatres including Wiener Staatsoper, Deutsche Oper Berlin, Bayerische Staatsoper Munich, Opéra National de Paris, Opernhaus Zürich and the Royal Opera House, Covent Garden. Recent seasons have brought further new roles to this extensive repertoire including Minnie in Puccini’s La Fanciulla del West in the acclaimed production by Barrie Kosky at Opernhaus Zürich conducted by Marco Armiliato, Cassandra in Berlioz’s Les Troyens in a new staging for Staatstheater Hamburg under Kent Nagano, and Carlotta in Krzysztof Warlikowski’s new production of Schreker’s Die Gezeichneten under Ingo Metzmacher at Bayerische Staatsoper. 

Praised for her instinctive and powerful dramatic interpretations and an enviable vocal versatility, Catherine Naglestad was honoured as Kammersängerin for exceptional artistic achievements by the German Ministry of Fine Arts and has won numerous additional accolades, notably Opernwelt’s Singer of the Year and Dallas Opera’s Maria Callas Debut Artist of the Year awards. Boasting a repertoire including many of the key roles by Verdi, Puccini, Richard Strauss and Wagner, Naglestad has performed in many of the world’s most prominent theatres including Wiener Staatsoper, Deutsche Oper Berlin, Bayerische Staatsoper Munich, Opéra National de Paris, Opernhaus Zürich and the Royal Opera House, Covent Garden. Recent seasons have brought further new roles to this extensive repertoire including Minnie in Puccini’s La Fanciulla del West in the acclaimed production by Barrie Kosky at Opernhaus Zürich conducted by Marco Armiliato, Cassandra in Berlioz’s Les Troyens in a new staging for Staatstheater Hamburg under Kent Nagano, and Carlotta in Krzysztof Warlikowski’s new production of Schreker’s Die Gezeichneten under Ingo Metzmacher at Bayerische Staatsoper. 

In the current season, Catherine Naglestad returns to Dutch National Opera as Tove in Pierre Audi’s staging of Schönberg’s Gurre-Lieder under Music Director Marc Albrecht, sings Salome in Zürich and Berlin, and Tosca at both Wiener Staatsoper and Tokyo’s New National Theatre. In concert Catherine sings Verdi’s Messa da Requiem with the Noord Nederlands Orkest under Eivind Gullberg-Jensen.

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Contacts

Shirley Thomson +44 (0)20 3725 9173
Clare Erskine +44 (0)20 3725 9145

Reviews

“above all, Catherine Naglestad is a captivating Carlotta with long phrases, clear diction and velvety piani.” (Opernwelt, August 2017)

“Catherine Naglestad, at the height of her Wagnerian power, shines again as Senta. Her voice recalls Nilsson, maintaining the balancing act between precise melodrama and effort in her final aria. A Brünnhilde in Götterdämmerung is eagerly awaited and here we see a highly dramatic soprano with an understandable, shapely Wagner sound which has momentum, drifting between nuances of nervousness and conviction as Senta.” (Opernnetz, July 2016)

“The soloists were also excellent, particularly American soprano Catherine Naglestad, who sang with superb clarity and control; her swooping, sorrowful sighs, weaving in and out of the chorus during the Lacrimosa, were a highlight of the evening” (Bachtrack, May 2016)

“Catherine Naglestad proved to be impeccably precise, even at the most perilous of highs, and at the beginning of each appearance made an admirable and powerful entry.” (Le Devoir, May 2016)

“above all, Catherine Naglestad is a captivating Carlotta with long phrases, clear diction and velvety piani.” (Opernwelt, August 2017)

“Catherine Naglestad, at the height of her Wagnerian power, shines again as Senta. Her voice recalls Nilsson, maintaining the balancing act between precise melodrama and effort in her final aria. A Brünnhilde in Götterdämmerung is eagerly awaited and here we see a highly dramatic soprano with an understandable, shapely Wagner sound which has momentum, drifting between nuances of nervousness and conviction as Senta.” (Opernnetz, July 2016)

“The soloists were also excellent, particularly American soprano Catherine Naglestad, who sang with superb clarity and control; her swooping, sorrowful sighs, weaving in and out of the chorus during the Lacrimosa, were a highlight of the evening” (Bachtrack, May 2016)

“Catherine Naglestad proved to be impeccably precise, even at the most perilous of highs, and at the beginning of each appearance made an admirable and powerful entry.” (Le Devoir, May 2016)

“At his side shines Catherine Naglestad as Senta... In addition to her recent Berlin Strauss debut, she sings more and more at the forefront of the German repertoire. Clear, sustained and powerful peaks are complemented by a melodious middle register. A deep appreciation of Wagner's score shines out in a sound and presentation that is immediately captivating.” (Opernnetz, March 2016)

“American soprano Catherine Naglestad brings a mature, fragile woman to the title role, impeccable text and she’s intensely radiant.” (BRKlassik, January 2016)

“Musically, the show is a single triumph, especially for the fantastic Catherine Naglestad in the title role…There hasn’t been a Salome with such a beautiful voice since Leonie Rysanek. With a round, youthful tone, the highest highs were radiant and effortlessly floating, and Naglestad created, by purely vocal means, a fascinating portrait. She has a sexy timbre and is a first class dramatic soprano – the pianos sitting perfectly and the dramatic scenes without force. The cheers at the end of the performance were well deserved.” (OnlineMerker, January 2016)

“Naglestad mastered the performance with a powerful voice and an enthralling narrative, so much so that one quite forgets that it’s only a character on stage suffering pain, rather than a real person.” (Klassik.com, January 2016)

“Catherine Naglestad has a voice of silver, her performance driven by the same hard, shiny metal. With an iron discipline she dims the drama to the extent that it sounds almost like chamber music, thereby allowing the dazzlingly balanced orchestra under Alain Altinoglu to flourish.” (Die Welt, January 2016)

“The two major female figures received the best reception. Catherine Naglestad dominated the highly dramatic vocal range of Cassandra, from exacting top notes to the extreme depths of her two arias.” (Online Merker, September 2015)

“One heard remarkably well selected soloists : Catherine Naglestad sang Cassandre with dramatic furor. She wandered through the rugged mountains of coloratura seemingly without effort and with remarkable strength” (Klassik.com. September 2015)

“Catherine Naglestad as Cassandre…[has] an extraordinary vocal presence and dramatic force of presentation that fills the bare room vocally and dramatically” (Opernnetz, September 2015)

“Vocally the very sensitive scale of Naglestad voice is convincing; there is soul in the lyric and softer phrasing” (Die Deutsche Buehne, September 2015)

“No doubt the whole package, her reputation here as an exceptional artist is well deserved, earning her a thunderous ovation.” (Udo Klebes, Online Merker, May 2015)

“With American soprano Catherine Naglestad, the production has a first rate singer who knows how to present the character of a woman in love: an intelligent role, with both vocal and emotional implications, buoyed by an impressive voice, rich and powerful in timbre. A presentation which in many ways is exemplary.” (Emmanuel Andrieu, ConcertoNet.com, May 2015)

“Singing at a high level and sustaining dramatic growth, it is Catherine Naglestad as Brünnhilde. Since 2012, the versatile singer continues to develop and her tone cannot be called anything less than amazing with her warm, not too bright timbre. After her remarkable Tosca in Munich and now the Siegfried Brünnhilde, she sets a high standard.” (Andreas M. Bräu, Opernnetz, March 2015)

“She sang beautifully and powerfully, with emotional shifts from attempted seduction to shame to joy.” (Ilana Walder-Biesanz, Bachtrack, March 2015)

“[Salome] includes an entire gamut of contradictions: naive and calculating, childlike and adult, playful and serious. This means not only the voice, but also body language convincingly has to overcome all the cliches and rigid expectations that are associated with this role. Catherine Naglestad succeeds excellently.” (Christa Habicht, Der Opern Freund, January 2015)

“Catherine Naglestad excited me as Salome, the American soprano has a full lyric spinto voice covering a varied repertoire of Cio-Cio-San to Brünnhilde. It is an ideal voice for Strauss’ heroine…her Salome can be placed among the best today.” (Wordpress, January 2015)

“Catherine Naglestad again gave the protagonist youthfulness and a frenzied credibility; vocally agile she brought a thrilling psychological edge to the girl’s erratic game” (Daniel Ender, Der Standard, January 2015)

“The audience were absolutely overwhelmed by Catherine Naglestad's Minnie. The voice is perfect for the role, broad, flexible and strong, always with something to give in reserve. It immediately places her ahead of all the other Minnies of today... In a word, outstanding.” (Jean-Marcel Humbert, Forum Opera, July 2014)

“Catherine Naglestad thrilled in a brilliant debut as Minnie. Her voice brings everything a big Puccini singer needs: an urgent yet safe range through and through next to delicate sensibility, clever phrasing and emphasis. With every fibre, with each aria, we get nearer and nearer to the central aspects of her character, showing the soft core under the resolute, fixed shell.” (Oper aktuell, June 2014)

"Kosky described American soprano Catherine Naglestad as “the perfect package” combining her wonderful voice with intelligence, humour, theatricality and sexuality. That about sums her up – her singing is indeed perfect." (John Rhodes, Seen and Heard International, June 2014)
 
"Catherine Naglestad made a truly sensational role debut as Minnie. The beautiful Californian Wagnerian soprano combines size of voice with the elegance of subtle, slowly expanding sounds. A perfect Minnie, who can naively sing about love, but just as well stand her ground in a harsh world of men." (Alessandro Anghinoni, Operamagazine.nl, June 2014)

"Catherine Naglestad in the title role of Minnie deserves the highest praise for the vocally and dramatically compelling visualization of a woman torn by financial difficulties, homesickness, withdrawal of love, cheap booze and men as well as alternatively for Sheriff Rance a mother, lion tamer, teacher and target of erotic desire. With her extensive soprano range and demanding dramatic presence Naglestad offers a huge expressive variety from preacher to sensitive lover, without showing signs of fatigue… Brava!" (Südkurier, June 2014)

"Catherine Naglestad is, for her part, a Sieglinde of significant importance. And a Senta and Brünnhilde, for that matter. Her lyrical beauty as Elsa is hard to beat these days, not only in the vocal line, but also the sweetness of song and speech in her interpretation of an ambiguous mythical character with many shades of personality." (Santiago Martín Bermúdez, Concerto.net, April 2014)

"It's Catherine Naglestad who raises the musical and vocal interpretation to excellence." (Beckmesser.com, April 2014)

"Catherine Naglestad as Elsa offered a most convincing performance. She developed the character perfectly, from the fragile and dreamy heroine of the first act to the more dramatic woman of Act Three, without any problems of tessitura." (José Mª Irurzun, Seen and Heard International, April 2014)

"It was a thrilling interpretation from Naglestad, playing Elsa - beautifully highlighting the character’s inner torments." (Fabio Zannoni, Giornale della Musica, April 2014)

"Catherine Naglestad and Christopher Ventris were excellent, their pure and powerful soprano and tenor voices embodying Elsa and Lohengrin incarnate. They reached the tremendous heights required, especially the pristine, spotless, unblemished dramatic voice of the US soprano." (José Catalán Deus, Guía Cultural, April 2014)

"Naglestad brought vulnerability to the fore, combined with fine playing from the orchestra, to portray the heroic Salome." (Clemens Haustein, Berliner Zeitung, February 2014)

"The cast is largely dominated by the radiant Catherine Naglestad's flexible, powerful voice and wonderfully sublime phrasing as the heroine Leonore." (ResMusica, October 2013)

“Catherine Naglestad inspired the audience as Leonora with her elegant stage presence, delicate lyrical intonation, a wonderfully warm middle layer and a secure and clear top.” (Der Opernfreund, October 2013)

“Catherine Naglestad, regular at all major houses in the world, divided her power as Leonora to provide an intelligent yet moving and intimate interpretation of the famous aria Pace mio Dio.” (Trierischer Volksfreund, October 21013)

“American Soprano Catherine Naglestad impressed as Leonore with her elegant voice, full bodied and powerful, yet slender at the same time. The sense of dramatic despair and rebellion were emphasized in her excellent phrasing.” (Tageblatt, October 2013)

"Catherine Naglestad’s Salome is exceptional. With an endearing vocal colour, a nice weight in the low range, warm timbre, a power that allows her to cut through the orchestra at the height of tutti, an art of nuance and a fascinating expressiveness." (Anaclase)
 
"Californian Catherine Naglestad’s soft tenderness and forceful attack make a flexible and effortless Brünnhilde." (Anaclase, July 2013)

“The most moving performance of the evening came from Catherine Naglestad who not only demonstrated her lower register from the start, but overall had the right darkly glowing and feminine (not girlish) sound, an excellent legato, rich piano, and also a confident forte which expelled power at the decisive points. Her performance had profound depth and she showed herself to be a thoughtful and natural actress on stage.” (Online Musik Magazin, May 2013)

“Catherine Naglestad was a virtuosic Sieglinde. The pair (Christopher Ventris) sang beautifully together and their singing blended nicely with the orchestra.” (operamagazine.nl, April 2013)

“Catherine Naglestad as Norma is always a good reason for visiting the opera in Stuttgart… Naglestad’s dynamic range of colours – the seamless surge from piano to infectious heights – combined with her dramatic talent is captivating from entrance to her moving exit!” (Udo Klebes, Der neue Merker, December 2012)

“Brünnhilde awoke in Siegfried in the beauteous form of the American soprano Catherine Naglestad, whose progression from such roles as Alcina and Fiordiligi, via Tosca, to Wagnerian heroines appears to have been entirely natural and sensibly gradual…one could hardly ask for more, visually and vocally, from a Siegfried Brünnhilde today.” (Hugh Canning, Opera, October 2012)

“Catherine Naglestad’s voice has gained warmth and depth without losing its radiance in the high passages. Her soprano sounds more sensual and has even more vigour. Her theatrical performance continues to enchant me.” (Jakobine Kempkens, Der neue Merker, July 2012)

“At the end of the performance, further wonders are worked by the singers: Catherine Naglestad as the radiant Brünnhilde and Lance Ryan as Siegfried achieve sublime grandeur in the final duet… this is little short of a sensation – and a blessing for the ears.” (Christian Wildhagen, Frankfurter Allgemeine Zeitung, May 2012)

Discography

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