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Dead Man soars with emotion and excellent singing

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Dead Man soars with emotion and excellent singing

It’s clearly a difficult score to sing, which makes this production’s performances all the more impressive. Catherine Martin has a clear, powerful mezzo-soprano voice and offered a disarmingly natural characterization as Sister Helen

https://www.twincities.com/2018/01/28/review-minnesota-operas-dead-man-walking-traverses-tough-terrain/

Catherine Martin's Sister Helen displays a similar kaleidoscope of emotions in a thoroughly convincing and beautifully sung performance.

http://www.startribune.com/minnesota-opera-s-dead-man-walking-soars-with-emotion-excellent-singing/471653903/

the acting and singing of every person on that stage was perfection. Not once did I hear or see an inconsistency that pulled me from the world. Yes, some characters were especially compelling, but the entire stage was a team effort of a company supporting each other for the sake of the story. Further, every aspect of the show was cohesive in a way that could only come from a focused direction, led by Joel Ivany.

https://minnesotaplaylist.com/magazine/article/2018/the-bar-has-been-raised

Catherine Martin energetically embodies Helen's headstrong and persevering nature, with Heggie's score suggesting uneasy enthusiasm for her mission during her long drive to the penitentiary in Angola

https://bachtrack.com/review-heggie-dead-man-walking-minnesota-opera-january-2018

Catherine Martin, who plays Sister Helen Prejean, bears the brunt of the emotional journey in this tale. A prim nun assured of her own faith, Sister Helen takes a journey of strength and courage as the arch of the narrative progresses. Martin reveals Sister Helen’s vulnerability as she grapples with the weight of her calling.


https://growlermag.com/minnesota-operas-dead-man-walking-is-the-redemption-story-we-need/

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