“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 presented the role of Minnie three years ago and proves again that she is one of the top sopranos of our time. Naglestad lives her roles: she simmers with jealousy as Mascagni’s Santuzza, shakes with anger as Puccini’s Tosca and stands her ground as a girl from a distant no man’s land. Her character drawing is clearly outlined and credible at every minute and she offers the entire palette that Puccini demands in his rumbling score.”

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

“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.”

“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”

“Vocally the very sensitive scale of Naglestad voice is convincing; there is soul in the lyric and softer phrasing”

“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.”

“She sang beautifully and powerfully, with emotional shifts from attempted seduction to shame to joy.”

“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.”