Press

Messiah | Charlotte Symphony

More chills came with the tender contrast of soprano Kathryn Mueller singing "I Know That My Redeemer Liveth" after we were back in our seats. I'm not sure that I've ever heard Mueller's last phrase, "the first fruits of them that sleep," delivered with such beguiling fructose.

- CVNC

The History of Red | Oakland Symphony

Soprano Kathryn Mueller, for whom the piece was written, gave a haunting performance, whether she was confiding dark musings in the lower range or launching lofty melismatic lines with laser-like intensity.

- Musical America

Love & Loss | Solo Album

Mueller sings with a gentle timbre, clear diction, and uncluttered phrasing in introverted yet assured interpretations. Her delivery is consistently limpid and direct, indicating deliberate restraint and concern for the text.

- Early Music America

Mueller's voice has been described by several as "crystalline," likely because of its crystal clarity, but it's also pristine, like the water in a mountain stream, and her diction is excellent, flowing like that stream, making the expression of the texts flow naturally.

- CVNC

Messiah | Seraphic Fire

The remarkable Kathryn Mueller goes from strength to strength. She displayed wonderful agility and freedom in the upper register for “Rejoice greatly.” The soprano’s interpolated high notes and cadenza near the end of the aria were totally idiomatic. “I Know that my Redeemer Liveth” was even more beautifully sung, with Mueller’s graceful shaping of the melody and soft rendering of the final verse deeply moving.

- SOUTH FLORIDA CLASSICAL REVIEW

Barber Knoxville: Summer of 1915 | Winston-Salem Symphony

Kathryn Mueller brought to the performance a beautiful voice of shining clarity, particularly in her high range. It seemed as if she belonged there, effortless, completely controlled and beautiful; and she had an appealing stage presence of personal warmth and musicianship.

- WINSTON-SALEM JOURNAL

Haydn Lord Nelson Mass | Seraphic Fire

Among an outstanding quartet of vocal soloists, soprano Kathryn Mueller took pride of place...her clear, bright coloratura projected splendidly over the full choral and instrumental forces. Her ease in the highest register and pure tone enlivened the lengthy solo in the “Benedictus,” the long-breathed phrases perfectly placed.

- SOUTH FLORIDA CLASSICAL REVIEW

Music of the American Moravians | Musicians of the Old Post Road

...the chamber ensemble deftly embroidering the elegant singing of Kathryn Mueller and Kathryn McKellar. Most vocal texts were in German, with the exception of John Antes’s “Go, Congregation,” an English-language aria setting that was strikingly performed on Saturday, with Mueller’s boldly enunciated singing supported by sinuous, richly articulated playing from the chamber ensemble.

- BOSTON GLOBE

Bach Missa Brevis in G Major and Hercules | American Bach Soloists

Soprano Kathryn Mueller delivered the Domine Deus [in the Mass in G] with countertenor Ian Howell. Her crystalline soaring soprano is perfect for this music...Mueller may have been born to sing the role of Vice [in Cantata 236], delivering a tantalizingly sensual performance.

- STARK INSIDER

Haydn Creation | Choral Society of Durham

The soloists were of the highest caliber. Soprano Kathryn Mueller, a versatile, widely experienced performer who specializes in early music and contemporary works, was solid throughout and gave an especially pleasing performance of the prized aria, "On mighty wings now circling soars the Eagle proud."

- CLASSICAL VOICE NORTH CAROLINA

Vivaldi In furore justissimae irae | Firebird Orchestra

Mueller’s dizzying scales matched the strings for flash, her clarion soprano gaining added projection from the acoustic. Lithe and winsome, Mueller effortlessly interpreted Vivaldi’s rapid-fire lines and flourishes with a vibrant tone, terrific intonation, and judicious vibrato. In the slower movements...Mueller weaved in and out of the violin lines languorously, and her superb vocal control on the quiet ending was stunning.

- SOUTH FLORIDA CLASSICAL REVIEW