There are remarkable performances – mezzo Kathryn Cowdrick as the ingénue Rosina is a wonder. She revealed a remarkable ease with the coloratura, impeccable comic timing and a stage presence of undeniable warmth. Cowdrick accomplished all her tasks with panache and about a hundred or so slightly different, rapidly changing facial expressions. Her tepid strained smile at Bartolo’s kiss was perfection.
Virginia Star Ledger
Virginia Opera
Il barbiere di Siviglia
Appropriately, the centerpiece of the drama was Kathryn Cowdrick’s charming protagonist, her limpid mezzo handling the fioratura and scales with even tone and dramatic bite without overstatement, saving her most dazzling singing for the final aria.
Opera News
Utah Opera
La cenerentola
Vocal honors went to Kathryn Cowdrick’s Isabella, her contralto-ish tone retaining focus throughout a wide range, with no audible shift between registers. She delighted the audience with her agile throat and beefy tone, making her big patriotic showpiece a high point. Her Act 2 love song (done as per the original score, with cello obbligato) was ravishing.
Opera News
Chautauqua Opera
L’Italiana in Algeri
Kathryn Cowdrick should be saluted in particular for some of the best English enunciation I’ve heard in ages, though all the singers in the companion opera distinguish themselves this way as well. It’s encouraging to see how young American vocalists instinctively understand the drama in musical theater nowadays...
Fanfare Magazine
Albany Records
Bon Appetit/This is the Rill Speaking
Mezzo soprano Kathryn Cowdrick was a stylish comedian possessed of a large, dark voice that handled the lines beautifully while making the comedy of the role of the Marquise of Berkenfeld a treasure.
Times Union
Lake George Opera Saratoga
The Daughter of the Regiment
Mezzo soprano Kathryn Cowdrick as Zita was especially gifted her with wonderful facial expressions and gesture. She sang with a rich big voice.
Schenectedy Gazette
Lake George Opera Saratoga
Gianni Schicchi
Kathryn Cowdrick’s Madame Larina demonstrated how nuances of phrasing can render stock characters as plausible, compelling personalities.
Opera News Online
Kentucky Opera
Eugene Onegin
Kathryn Cowdrick’s Despina stole the show. Witty, wise, impertinent and with enough stage presence to threaten the ego of any actress and singer worth her salt, she made the most of her comic character. The arias were impudent and wise, sung with tongue in cheek aplomb.
NY Daily News
Opera Ensemble of NY
Così Fan Tutte
As for the scene stealing roles – Ruth and General Stanley – Kathryn Cowdrick and John Stephens, respectively, are the very models of what these characters should be.
Ft. Worth Star-Telegram
Ft. Worth Opera
Pirates of Penzance
As the Old Prioress, Kathryn Cowdrick commanded a regal presence, her death scene was less extreme than many, more filled with questioning and confusion than outright panic.
Arizona Republic
Arizona Opera
Dialogue of the Carmelites
Kathryn Cowdrick as the Foreign Singer and David Evitts brought both vocal agility and a fine sense of comic physicality to their roles.
New York Times
Opera Festival of NJ
Postcard from Morocco
I can’t end without acknowledging mezzo Kathryn Cowdrick. As Berta, she’s mostly wallpaper until late in Act 2. God bless Rossini for letting her step out to sing a sweet, resigned aria about life without love. The opera needs a truly touching moment, and Cowdrick made the most of it.
Milwaukee
Florentine Opera
Il barbiere di Siviglia
Cowdrick was wonderful as the comical Old Lady, and her song and danceI am easily assimilatedturned out to be the audience favorite.
Daily Gazette
Lake George Opera Saratoga
Candide
... and Kathryn Cowdrick as parents seeking to communicate with dead children gave excellent support to Miss Crespin. Cowdrick especially is a find: a lustrous mezzo with fine dramatic gifts.
San Franciscro Chronicle
San Francisco Opera
The Medium
As Ory’s page/rival Isolier, mezzo Kathryn Cowdrick wore the pants in more ways than one: her every gesture and utterance bespoke superior control and artistry.
Opera News
Chautauqua Opera
Le Comte Ory
...and this was fine because mezzo Kathryn Cowdrick (a memorable Smeton here last year) was a welcome, benevolent presence. Her warmth and perkiness were irrepressible, and her comic timing is unerring.
Opera News
Virginia Opera
Tales of Hoffman
In addition to Keenleyside, Kathryn Cowdrick is also superb vocally, the coloratura writing well within her grasp and her characterization was completely sympathetic and utterly charming and entertaining.
Glasgow Herald
Scottish Opera
Il barbiere di Siviglia
... and the singing does not pick up until the entrance of Kathryn Cowdrick as Rosina and the resounding bass of Andrew Shore. They steal the show with their scenes. She is pert and natural as few singers can be when faced with Rossini’s elaborate writing. Her rich, accurate mezzo-soprano and easy demeanor manage to make even the showiest vocal display seem essential to the drama.
Ottowa Citizen
Vancouver Opera
Il barbiere di Siviglia
Also outstanding is mezzo soprano Kathryn Cowdrick as the bumboat woman Buttercup. Her songs are splendidly rendered and she brings an earthy warmth to the role.
Little Rock Democrat-Gazette
Wildwood Festival
HMS Pinafore