DONNA ANNA | OPERA DELAWARE | DON GIOVANNI
“[...]Katerina Burton truly stood out. Her loud, penetrating, crystalline voice soared [...]. Not only that, she is a serious dramatic talent. Her diction was impeccable [...] Her “Non mi dir, bell’idol mio… ” was, without hyperbole, a slice of heaven, filled with an aching loveliness.”
-PARTERRE BOX
“Katerina Burton delivers a Serena that resonates like a cathedral bell. Her vocal control in ensemble prayer sequences is astonishing — her tone expanding with gospel-rooted fervor that fills the theater.”
-BROADWAY WORLD
SERENA | LYRIC OPERA OF KANSAS CITY | PORGY & BESS
DONNA ANNA | MADISON OPERA | DON GIOVANNI
“Katerina Burton sang Donna Anna with vocal fire and dramatic conviction — every line carried weight, and her “Or sai chi l’onore” was both crystalline and commanding.”
-ISTHMUS
“This entire cast is talented, but Burton, as well as Emily Fons as Donna Elvira are the production’s stars. Both women are cast perfectly for their roles, with Burton’s pure soprano giving her both deep sadness and a sharp, vindictive edge.”
-THE CAP TIMES
EIN DEUTSCHES REQUIEM | CATHEDRAL CHORAL SOCIETY
“The highlight of the experience came in the fifth movement, where Katerina Burton had an incandescent turn in the piece’s lone soprano solo...Burton soared with a cushioned, floating tone above the delicately scored orchestra and chorus, blossoming on a limpid high A in the piece’s opening phrase.”
-WASHINGTON CLASSICAL REVIEW
MIMÌ | OPERA THEATRE OF SAINT LOUIS | LA BOHÈME
"Leading the talented ensemble is soprano Katerina Burton. Drop everything you are doing and go see her! Her performance is jaw-dropping! Stunning audiences with her voice, she brings a balance of ecstasy and pathos to the part of Mimi.”
-REVIEWSTL
“Burton maintains a tightly controlled, authentic simplicity that draws attention to Mimi’s inner life and emotional journey... Burton’s performance of Mimi’s deterioration [was] compelling, tragic and all the (tragically) sweeter, especially her love and tribulations with Rodolfo... Her voice conveys the necessary subtle nuances and delivers Puccini’s demanding melodies with a beautiful legato and emotional depth. She is a convincing actress who genuinely portrays Mimi’s joy, love and eventual (inevitable) suffering.”
-POP LIFE STL
“Soprano Katerina Burton breathed vivid simplicity and immediacy into the adorable seamstress’ death and life, A full lyric, her timbre perfectly suits Mimì, a flavor like Godiva raspberry swirl ice cream, those swirls slender with a quick vibrato. Even before her first aria, “I’m always called Mimì” (“Si, mi chiamano Mimì”), she impressed with her acting, quiet-but-active actual listening to Rodolfo holding forth during “How cold your little hand is” (“Che gelida manina”). No showy reactions, just one smitten youth listening to another... Burton approached the duet with Marcello sounding like she could endure anything, and also couldn’t endure much more. She spun delicate diminuendi in “Goodbye then, no sad farewells” (“Addio senza rancor”), communicating her waning spiritus. She embraced Rodolfo with pragmatism, communicating to the audience that Mimì is really the most adult in the group of six. Burton and Salazar blended well in the quartet “Goodbye to waking in the morning / with your arms around me” (“Addio dolce svegliare alla mattina”). Her chest and middle registers served her well throughout, particularly in “Are they gone now” (“Sono andati”), for which she stood from the chair, for the last time. Throughout, a sweet, earnest, very young but very grown up woman facing eternity. Burton will surely excel in varied full lyric repertory.”
-OPERAWIRE
“The glorious voices of Salazar and Miss Burton fill this music with heart-breaking sweetness. Each seems to relish the lofty elevation of those highest notes, where their voices virtually glow with easy power. I felt I was hearing these songs for the first time.”
-BROADWAY WORLD
THE GEORGE LONDON FOUNDATION COMPETITION
“Katerina Burton, however, offered the finest singing of the afternoon in her exquisite rendition of “Tu che la vanità,” from Don Carlo. Burton is a subtle actress—she didn’t need to move much or do much at all. She just let her voice tell Verdi’s story, offering her audience a varied palette of vocal colors: from plush lyricism to glimmering pianissimo to rich, throaty chest register..”
-PARTERRE BOX
CONCOURS MUSICAL INTERNATIONAL DE MONTRÉAL
“Katerina Burton [was] absolutely radiant... Here is a voice like Léontyne Price and Jessye Norman, operatic in power but integrated into a personality of delicate loving, artistic sensitivity, and masterful interpretation in her lyrical choices.” (translated from French)
-LES ARTSZÉ