Lady Jane, Patience, Charles Court Opera

…Catrine Kirkman as Lady Jane living up to the comic genius of her chav Plaintiff in the CCO Trial by Jury, with a plausible characterisation of an older hipster, knowing where to modify the mockery.

-David Nice, The Arts Desk

…Catrine Kirkman as Lady Jane, especially, is gifted with a wonderful sense of comedy and a brilliant amount of control over her facial expressions.

-Michael Higgs, Broadway World UK

Bridget, Express G&S, Charles Court Opera

…Catrine Kirkman is perhaps the most impressive, if only because her voice has a range that enables her to sing both contralto and soprano roles. Amongst the multitude of parts that she plays, both male and female, her sense of the absurd quickly communicates itself to the audience, safely socially distanced at the Pleasance Theatre. She is also able to sing off the words so that they always make sense and seem to come from within her persona, for example, “Braid the Raven Hair” and Lady Jane’s song from Patience which, for a change, have real pathos as the lyrics are given equal value to the music.

-John Groves, London West End Theatre Tickets

Angelina, Trial by Jury, Charles Court Opera

Catrine Kirkman’s Essex Plaintiff, unsung comedy performer of the year… among the most tear-inducingly witty half-hours I’ve ever enjoyed on the London stage, musical or otherwise.

-David Nice, Best of 2015 Opera, The Arts Desk

Oscar, Un ballo in maschera, Midsummer Opera

Catrine Kirkman, as the laddish pageboy Oscar, stole the show with creative costuming, extreme vanity and a playful arrogance, particularly while taunting Renato in the Act III aria, “Saper vorreste”. Kirkman interacted with each cast member at the ball with natural flare, her voice audible through full company chorus.

-Kathryn Wareham, Bachtrack

Angelina, Trial by Jury, Charles Court Opera

the show is decisively stolen by Kirkman’s gum-chewing, smoking, moueing, hoop-earringed Plaintiff… Kirkman’s performance is the stuff of which awards are made.

 -David Nice, The Arts Desk

Isiphile, Jason, English Touring Opera

The young Catrine Kirkman sings with persuasive grace as the abandoned wife Isiphile

-Richard Morrison, Times

Hannah Pedley’s Medea had a heft nicely counterbalanced by Catrine Kirkman’s delicate soprano as Isiphile

-Michael Church, Independent

Catrine Kirkman is sweet-toned as the wronged Isiphile

-Simon Thomas, What’s On Stage

Yum Yum, The Mikado, Charles Court Opera

Kevin Kyle (Nanki Poo) and Catrine Kirkman (Yum Yum) sing beautifully and have all the comic timing you need.

-Kieron Quirke, The Evening Standard

Laetitia and Angelina, The Zoo and Trial By Jury, Charles Court Opera

Catrine Kirkman made two soprano roles into priceless character acts.

-Tully Potter, The Daily Mail

Miss Jessel, Turn Of The Screw, Opera Up Close

Catrine Kirkman’s glamorous, sophisticated Miss Jessel[‘s]… scene with her fellow-ghost – is superbly realised…

-George Hall, The Guardian

Miss Hedgehog, Fantastic Mr Fox, English Touring Opera

Soprano Catrine Kirkman as Hedgehog was a delight, both in terms of her characterisation and the manner in which she sang her aria

-Miranda Jackson, Opera Britannia

Asteria, Il Medo, Ensemble Serse, 2010

…Catrine Kirkman had moving timbre in poignant airs and admirably distinct divisions in bravura.

-Andrew Porter, Opera

Susanna, The Marriage of Figaro, Opera Brava

…..Catrine Kirkman’s Susanna moved from confident to plotter with musical and dramatic ease….

-Gerry Parker, Bristol Evening Post

Euridice, Motions of the Heart, Ensemble Ex, Dublin National Gallery

…soprano Catrine Kirkman makes a strongly characterised contribution.. in a tantalising extract from Luigi Rossi’s Orfeo.

-Andrew Johnstone, The Irish Times

Laetitia, The Zoo, Charles Court Opera, Buxton Opera House

Catrine Kirkman was terrific….

4 out of 5 stars
-Quentin Letts, Daily Mail

Laodice, Il Siroe, Ensemble Serse

The vocal pyrotechnics gave way to moments of real beauty, especially from the soprano Catrine Kirkman as Laodice, whose Act 2 aria was a highlight of the evening.

-Cicely Goulder, Opera Magazine

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