KATHERINE CROMPTON

S O P R A N O

Katherine Crompton was an enchanting Galatea, fuller and rounder of voice than some who take on the role/ Her vocal acting and projection were impeccable, rising to a heart achingly transcendent climax in the final accompanied recitative. 

Brian Robins, Opera Magazine, November 2018

 

 

Three finely tuned and musically sensitive Ladies (reviewing Magic Flute at Garsington).

David Truslove, Classical Source, June 2018

 

 

The Three ladies formed a particular mellifluous trio, the individual voices distinctly characterised and sweetly blended.

Claire Seymour, Opera Today, June 2018

 

 

C'est la Galatée de Katherine Crompton que l’on retiendra en premier lieu. D’une grâce innée, la soprano anglaise captive également par son timbre d’une grande pureté et grâce à l’agilité fort méritante de ses vocalises. Dès son premier air « Ye verdant plains and woody mountains », l’auditoire tombe sous le charme de cette artiste, de son naturel et de sa finesse d’interprétation.

This is the Galatea Katherine Crompton as we note in the first place. In innate grace, the English soprano also captivates with its tone of high purity and with the high agility worthy of its vocalizations. From her first aria "Ye verdant plains and woody mountains", the audience fell under the spell of this artist, her finesse and natural interpretation.

Emmanuel Andrieu, Opera Online, October 2015

 

Si Cyril Auvity dessine avec une certaine finesse l’amoureux transport qui agite Acis, la maîtrise de Katherine Crompton, au soprano expressif et fruité, sans oublier une musicalité lumineuse, lui dame peut-être quelque peu le pion.

If Cyril Auvity draws with a certain finesse transportation waving lovers Acis, mastering Katherine Crompton, expressive soprano and fruity, plus a luminous musicality, she perhaps, steals the show.

Gilles Charlassier, Concerto Net, October 2015

 

Katherine Crompton relished the opportunity to deploy her crystal-bright soprano in soubrette mode as the infuriatingly virginal Anne Egermann, and followed this up later with a raunchy account of the Jimmy Choo aria from Mark-Anthony Turnage's Anna Nicole.

Henrietta Bredin, Opera, August 2015

 

Very fine contributions were also made by...Katherine Crompton, a young soprano rapidly developing an enviable reputation in the international world of opera.

Colin Bloxham, March 2015

 

There were some outstanding performances ... Katherine Crompton confirmed my previous impression of her as a fine singer and performer who is destined for a significant career ...

Brian Dickie, 13th March 2013

 

The cast were all highly talented and there was much to enjoy musically in the performance.  Katherine Crompton was everything that director Paul Curran wanted as Clomiri ... The result was personable and highly creditable, and when combined with her stage antics was in many ways a bravura performance ...

 Robert Hugill, 13th March 2013


The female soloists were particularly strong in this production. Katherine Crompton sang with great expressivity as Poppea .... the beautifully sung duet between Poppea and Nerone ...

bachtrack.com, 30th November 2012
  

All the principals are singers one would like to hear again. Particularly outstanding are Katherine Crompton and Luis Gomes in the lead roles of Marenka and Jenik ...

Evening Standard, 12th September 2012
 

Katherine Crompton's Marenka,the bartered bride, fields a ringing top register ..... and Crompton's splendidly handled aria bemoaning the heroine's lot ...

The Times, 11th September 2012

 

Crompton in particular put on a stunning show – the range of the role is huge and she showed supreme control in her pianissimo top notes while also providing some moments of pure drama in her tempestuous third-act quarrel with her beloved.

bachtrack.com, 11th September 2012

 

Katherine Crompton as Marenka has a lovely rich lyric voice. It sounds as if it has the potential to develop into something quite substantial. She presented Marenka as a beautifully sunny character, singing with a lovely warmth. And underneath there was the necessary toughness and a glorious vein of pathos in act 3. A radiant and touching performance.

Robert Hugill, 10th September 2012
  

Costanza in Handel's Riccardo Primo

Princess Costanza gets an aria of heartbreak from which soprano Katherine Crompton, this production’s Costanza, extracts great beauty. Crompton may still be in the first year of the Royal College of Music’s opera course, but here she reveals herself as a born Handelian, with delicately sustained high notes and an instinctive sense of pace and structure.

The Independent, 28th March 2012
 

.. a couple of singers in this second cast rose above the average – notably Katherine Crompton and Hannah Sandison as the two sopranos vying to be England’s queen.

The Financial Times, 30th March 2012
  

Katherine Crompton ... took on the significant role of Costanza.... Ms Crompton has what I think is going to be quite a big voice, but her vibrato is well under control, enabling her to put more light and shade into her mournful, even plaintive arias about suffering such as “Morte, vieni!” and “Caro, vieni a me.” The aria accompanied by sopranino recorder  “Il volo cosi fido” was a delight and the duet with Riccardo, “T’amo si” extremely moving. ... in my view this soprano has huge potential.

Opera Britannia, 5th May 2012​

 

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