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"show-stopping farewell flourish for Crompton" Ebyan Rezgui, The Arts Desk 

"Crompton produced an extremely sweet and accurate sound" Sam Smith, Music

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

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


The master is Katherine Crompton, an expressive and fruity soprano, plus a luminous musicality, she perhaps, steals the show.

Gilles Charlassier, Concerto Net


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


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


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


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

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

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


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.


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

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

.. 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

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        

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