Soprano Kathryn Mueller was spectacular vocally and dramatically as Belinda. She broke my heart with her facial expressions alone as she knelt over her dying mistress.
-Opera West, June 13, 2011; Bach Collegium San Diego's Dido and Aeneas
In the Snow Scene, Kathryn Mueller exuded charm with dizzying flights of coloratura as Cupid.
-Miami Herald, May 16, 2011; Seraphic Fire's King Arthur
The soloists were well-chosen beginning with the exceptional Kathryn Mueller...Her Part Six aria, "Naught against the power" sailed majestically, while the echo aria, Ah! My Savior, playfully yet delicately lifted to realms ethereal.
-Albuquerque Journal, December 19, 2010; New Mexico Symphony Orchestra
Mueller's solo on "Exsultate, jubilate" was inspired. She is possessed by a lovely, soaring soprano that glistened in the glorious coloratura "Alleluia" finale. Throughout she showed off a virtuosic depth of enormous talent.
-Arizona Daily Star, October 15, 2010; Tucson Chamber Artists
Kathryn Mueller's light, bright-hued soprano is perfect for Baroque music, and her flexibility and accurate, beautifully executed trills were a joy to hear. The cantata [84] concludes with one of Bach's noble, moving chorales which Mueller sang with natural, unforced grace.
-Miami Herald, February 28, 2010; Firebird Orchestra
Every once in a blue moon a young singer comes along who thoroughly captures the imagination. Soprano Kathryn Mueller is such a singer.
-Albuquerque Journal, February 2010; Albuquerque Baroque Players
Mueller provided the highly decorated vocal line that included some well executed trills and remarkably steady intonation.
-Miami Herald, July 21, 2010: Seraphic Fire (Couperin Léçons de Ténèbre)
The choir entered the church sanctuary to the a capella tones of soprano Kathryn Mueller singing Down to the River to Pray with disarming simplicity and vocal radiance.
-southfloridaclassicalreview.com, Nov. 7, 2009; Seraphic Fire
Mueller, the TCA's principal soprano, came out strong and never wavered. Her soaring lyrical voice filled the room at every turn.
-Arizona Daily Star, March 1, 2009; Tucson Chamber Artists
Young soprano Kathryn Mueller made a strong case, however, for reviving Salieri's sacred music with her bravura rendition of Mary Magdalene's strangely virtuosic aria, Ai passi erranti, from La passione di Gesu Cristo. The flights of stratospheric brilliance are decidedly odd in a text that tells of Christ's followers' desolation after his crucifixion, but Mueller threw off the coloratura showpiece with gleaming facility.
-Miami Herald, Jan. 18, 2009; Firebird Orchestra
From her very first notes it was immediately clear, here was a voice to be reckoned with, brilliantly focused, bright, sweet and pristine. Her top notes were revelations, supported by pinpoint intonation throughout her range.
-Albuquerque Journal, Dec. 21, 2008; Santa Fe Pro Musica
[A] most purely beautiful voice... I really went away with the memory of the intertwining voices of Miss Mueller and Mr Barber in the final duet from Poppea. Too luscious for words.......
-Brian Dickie, General Director of Chicago Opera Theater, Nov. 8, 2008; Ars Antigua
(http://briandickie.typepad.com/my_weblog/)
Kathryn Mueller seemed the most at ease [of the soloists] in the operatic material, delivering Batti, batti with lovely soprano tone and more characterful expression.
-Miami Herald, May 18, 2008; Seraphic Fire
With the gleaming voice of a true Zerlina, Kathryn Mueller channeled the curving melodic lines of Batti, Batti from "Don Giovanni."
-South Florida Sun-Sentinel, May 18, 2008; Seraphic Fire
Mueller has the kind of pure sound, with little vibrato, that is ideal for this material. Her voice was well matched to [countertenor Terry] Barber’s more silvery tones, and she held her own in the duets. She showed a good sense of tragedy in Handel’s “Lascia ch’io pianga”from “Rinaldo,” one of the composer’s youthful masterpieces.
-The Atlanta Journal-Constitution, September 2, 2007; New Trinity Baroque
There were goosebumps-inducing moments throughout the concert, but none as captivating as the mesmerizing solo turn by Kathryn Mueller in the "Et incarnatus est" ("And was incarnate by the Holy Spirit of the Virgin Mary. And was made man."). Mueller…exhibited a rich lyric soprano. At times you held your breath waiting to see where those glorious high notes would land.
-Arizona Daily Star, November 6, 2006; Tucson Chamber Artists
Kathryn Mueller [was] a perfect Amy, whose high flying tessitura was filled with the right touch of naiveté in her hidden longings for everybody's favorite boy, Laurie.
-livingattheopera.com, April 22, 2006; University of Arizona Opera Theater
page last updated 11/7/11
