The most revelatory performance came from mezzo-soprano Catherine Martin as the Egyptian princess Amneris, who is also desperately in unrequited love with Radames. Martin is both radiant and commanding, and her passion, both vocally and dramatically, sustains the tension-filled first half of Act IV. In fact, Martin succeeds in making Amneris the most interesting character in the opera. Verdi made sure that this was possible in the way he wrote the role, but the singer needs to cash in on that if she is not to retreat into the shadows of Aida and Radames.
"Catherine Martin’s mezzo has warmth and shimmer, as well as a degree of cut that lends distinction to her interpretation of classic lyric roles...Martin’s six-foot stature is a strong component of her naturally striking stage presence"
"Catherine Martin was an exceptional talent whose lush overtones gave rise to a sound that resonated to all parts of the hall. Undoubtedly capable of doing great justice to Wagner, Martin carried her part tastefully in the more intimate setting."
As Sister Helen, Catherine Martin's remarkable vocal powers brought her character, and the opera to life. She is a beautiful and young American Mezzo-Soprano well on her way to a brilliant career. She dominates nearly every scene. Her vocal line gives musical meaning to the words...Her vocal powers sustained her complex character. She is a Star."
"Martin delivers angelic vocals, perfect facial expressions, spot-on comic timing, and yet just enough real sadness to be relatable...Catherine Martin’s voice is warm, gorgeous as always (you may have seen her recently at Washington National Opera), and often jazzy – her role in Lucrezia provides her with endless opportunities to use her “mezzo sass”. . . "
Martin is a San Antonio native who now is a global opera star. The Schubert work requires strength and stamina to be heard over the orchestra and choir, plus a wide vocal range. Martin checked off on all of those, adding her beautiful, rich voice."