“The evening’s standout was Catherine Martin as Nicklausse, Hoffmann’s muse, who appears in the guise of a trusted (male) companion for most of the evening. Martin has a gorgeous, warm voice that you want to keep listening to (no small achievement in a role that often seems tiresome), and she’s a big talent.”

— The Washington Post

ABOUT CATHERINE...

The Washington Post has praised young mezzo-soprano Catherine Martin for her “gorgeous warm voice” as she makes an impact in repertoire ranging from Verdi and Wagner to Mozart and Donizetti. She was recently seen reprising the role of Amneris with Opera Santa Barbara for which the LA Times said “Martin’s Amneris took on enough depth of feeling to ultimately make her the standout of the performance.” Catherine was invited to bring her celebrated Amneris to the stage of Houston Grand Opera when she filled in for an indisposed artist this past fall. Engagements for the 2014-2015 included a return to Opera Santa Barbara as Maddalena in Rigoletto, her debut with Dayton Opera as Sister Helen Prejean in Dead Man Walking, Waltraute in Die Walküre with Houston Grand Opera, and joining the American Symphony Orchestra for Hindemith’s The Long Christmas Dinner. The 2015-2016 season and beyond will see debuts with Opera Colorado as Amneris in Aïda and Florida Grand Opera as Adalgisa in Norma and a return to Washington National Opera as Wellgunde in Das Rheingold and Götterdammerung and Grimgerde in Die Walküre. Additionally, she will make her debut in Dresden and return to Houston Grand Opera.

 

The 2013-2014 season for Catherine included returns to Houston Grand Opera as Wellgunde in Das Rheingold and the Glimmerglass Festival as Der Komponist in Ariadne auf Naxos, debuts at the Kennedy Center with Washington National Opera as Mary in the premiere of The Lion, the Unicorn and Me, singing Annina and covering Octavian in Der Rosenkavalier with the National Symphony Orchestra, Schubert’s Mirjams Siegesgesang with the San Antonio Symphony and Amadora/Stelladora in Musto’s Bastianello and Lucrezia in Bolcom’s Lucrezia in a double-bill with Urban Arias. Recently, Catherine was seen on the concert stage performing Elgar’s The Dream of Gerontius with New Haven Symphony, and Smith’s Covered Wagon Woman with West Coast Chamber Players.  In the summer of 2013 she sang the role of Sara Miller in the world premiere of Approaching Ali with the Washington National Opera and attended Ravinia’s Steans Music Institute. An alumna of the Houston Grand Opera Studio, Catherine spent three seasons performing roles such as Dorabella in Così fan tutte, Suzuki in Madama Butterfly, Anna in Maria Stuarda, Flora in La traviata, Berta in Il barbiere di Siviglia, and Dryad in Ariadne auf Naxos. She also had the opportunity to work extensively with Patrick Summers and cover artists such as Susan Graham, Joyce DiDonato, and Michelle DeYoung in the title roles of Xerxes and The Rape of Lucretia, and as Der Komponist in Ariadne auf Naxos, and Sister Helen in Dead Man Walking.

 

Catherine joined the Ravinia’s Steans Music Institute in 2013 and 2012 saw her role debut of Amneris with The Glimmerglass Festival. In 2010 and 2011 she was a Filene Young Artist with Wolf Trap Opera Company, where her duties included Nicklausse in Les contes d’Hoffmann, Hermia in A Midsummer Night’s Dream, Zaida in Il turco in Italia, and multiple recitals with Steven Blier. 2013 marked Catherine’s debut with the New Haven Symphony in Elgar’s rarely heard masterpiece, The Dream of Gerontious, and collaboration with the West Coast Chamber Players in Covered Wagon Woman by Allen Smith.  Catherine made her debut with the Ashville Symphony in 2009 as the Alto Soloist in Beethoven’s Ninth Symphony. She also has performed Elgar’s Sea Pictures and Music Makers with the Philharmonia Orchestra at Cincinnati College-Conservatory of Music. Along with concert work, Catherine performed in a Liszt recital series in Sarasota in the 2011 season. Other recitals include Mahler’s Lieder eines fahrenden Gesellen with Kathleen Kelly.… 

Winner of the 2011 National Opera Association Competition, Catherine was a semi-finalist in the 2012 Metropolitan Opera National Council Auditions, a finalist in the 2012 George London Competition, 2nd place winner of the 2013 Jensen Competition and won awards in the Eleanor McCollum Competition at Houston Grand Opera, the Dallas Opera Guild, Annapolis Opera, and was a semi-finalist at the Hans Belvedere Competition. She has received The Richard F Gold Career Grant at both Houston Grand Opera and Wolf Trap, and the Catherine Filene Shouse Career Grant. She holds a master’s degree from Cincinnati Conservatory of Music and a bachelor’s degree from University of North Texas in Vocal Performance.