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Preview article in South Florida Classical Review
March 2013

Press

The remarkable Kathryn Mueller goes from strength to strength. She displayed wonderful agility and freedom in the upper register for “Rejoice greatly.” The soprano’s interpolated high notes and cadenza near the end of the aria were totally idiomatic. “I Know that my Redeemer Liveth” was even more beautifully sung, with Mueller’s graceful shaping of the melody and soft rendering of the final verse deeply moving.
- South Florida Classical Review, December 19, 2015; Handel Messiah with Seraphic Fire

Kathryn Mueller brought to the performance a beautiful voice of shining clarity, particularly in her high range. It seemed as if she belonged there, effortless, completely controlled and beautiful; and she had an appealing stage presence of personal warmth and musicianship.
- Winston-Salem Journal, November 15, 2015; Barber Knoxville: Summer of 1915 with Winston-Salem Symphony

Among an outstanding quartet of vocal soloists, soprano Kathryn Mueller took pride of place...her clear, bright coloratura projected splendidly over the full choral and instrumental forces. Her ease in the highest register and pure tone enlivened the lengthy solo in the “Benedictus,” the long-breathed phrases perfectly placed.  
-South Florida Classical Review, February 14, 2015; Haydn Lord Nelson Mass with Seraphic Fire

...the chamber ensemble deftly embroidering the elegant singing of
Kathryn Mueller and Kathryn McKellar. Most vocal texts were in German, with the exception of John Antes’s “Go, Congregation,” an English-language aria setting that was strikingly performed on Saturday, with Mueller’s boldly enunciated singing supported by sinuous, richly articulated playing from the chamber ensemble.
-Boston Globe, March 18, 2014; Music of the American Moravians with Musicians of the Old Post Road

Soprano Kathryn Mueller delivered the Domine Deus [in the Mass in G] with countertenor Ian Howell. Her crystalline soaring soprano is perfect for this music...Mueller may have been born to sing the role of Vice [in Cantata 236], delivering a tantalizingly sensual performance.
-Stark Insider, February 23, 2014; Bach Missa Brevis in G Major and Hercules Cantata 236 with American Bach Soloists

The soloists were of the highest caliber. Soprano Kathryn Mueller, a versatile, widely experienced performer who specializes in early music and contemporary works, was solid throughout and gave an especially pleasing performance of the prized aria, "On mighty wings now circling soars the Eagle proud."
-Classical Voice North Carolina, February 16, 2014; Haydn Creation with Choral Society of Durham

Mueller’s dizzying scales matched the strings for flash, her clarion soprano gaining added projection from the acoustic. Lithe and winsome, Mueller effortlessly interpreted Vivaldi’s rapid-fire lines and flourishes with a vibrant tone, terrific intonation, and judicious vibrato. In the slower movements...Mueller weaved in and out of the violin lines languorously, and her superb vocal control on the quiet ending was stunning.
-South Florida Classical Review, March 21, 2013; Vivaldi In furore justissimae irae with Firebird Orchestra

[Mueller] sang throughout with lovely tone and easy agility.
-San Francisco Classical Voice, May 5, 2012; Bach Easter Oratorio & Cantatas 4 and 80 with American Bach Soloists

No one hearing her can doubt she is a star in the making.
-Albuquerque Journal, April 27, 2012; Handel solo cantatas with Albuquerque Baroque Players

Soprano Kathryn Mueller was spectacular vocally and dramatically as Belinda. She broke my heart with her facial expressions alone as she knelt over her dying mistress.
-Opera West, June 13, 2011; Bach Collegium San Diego's Dido and Aeneas

Every once in a blue moon a young singer comes along who thoroughly captures the imagination. Soprano Kathryn Mueller is such a singer.
-Albuquerque Journal, February 2010; Albuquerque Baroque Players

 

 

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