“Catherine Naglestad has long been an audience favourite. The arc of her soprano between gossamer lyricism and precise attack, between deep and dynamic highs is still her trademark; her refined agility in floor-length robes and her well-controlled expressiveness between flattery and fitting hysteria at the end complete her work of art.”

“The soprano Catherine Naglestad is once again a brilliant Carlotta. With an impressively pure voice color she seems to be walking over a rainbow. Everything is bright, everything is colorful. Yes, it almost reminds you of a painting by Franz Marc! Rich blues surround Naglestad’s vocals and get stuck deep in the hearts of the audience. A real treat for the ears!”

“Catherine Naglestad brought her unique brand of lyrical heroism to Tove.. and her ​‘Du sendest mir einen Liebesblick’ was ecstatically soaring, culminating in a radiant high C”

“a strong cast headed by Catherine Naglestad, whose fearless, stylish singing rang out effortlessly in this theatre. She suggested Minnie’s homespun goodness and true grit, and was unglamorous enough (though not entirely) to make her ​‘never-been-kissed’ claim believable.”

“Catherine Naglestad as Salome dominated the evening from the moment she was on stage with the first note of a solo clarinet. She was convincing as a young woman bent on regaining her lost childhood and rebuilding her life. Naglestad’s voice, clean, gleaming and rich, was a marvel as it rose high above the heavy orchestration with beauty and power. She was tireless in the demanding role and Salome’s last monologue, as the music became complex and dissonant, was one of the best I have experienced live. There was no strain, no screeching, but a wall of warm and thrilling sound coming from her. An amazing triumph.”

“a fearless Carlotta from Catherine Naglestad.”

“Catherine Naglestad gives Carlotta a magnificent power thanks to a colorful and agile voice, superb in size at the same time as capable of very controlled piani.” 

“The humanity of the genuine artist, Carlotta, is underscored equally well, not least given an exemplary, heartfelt performance from Catherine Naglestad.”

“Catherine Naglestad trod to powerful, even searing effect the line between, on the one hand, twin incitement to Verfremdung and terror, and on the other, heartfelt, Romantic or neo-Romantic ​‘feminine’ suffering. Her top notes — and not just her top notes – thrilled.”

“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”

“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.”

“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.”

“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.”

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

“No doubt the whole package, her reputation here as an exceptional artist is well deserved, earning her a thunderous ovation.”

“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.”

“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.”