THE SECRET MARRIAGE:

“The afternoon standout singer was Venezuelan soprano Sara Catarine as Elisetta, the older sister. She blossomed in the second act, when her major aria was the only show-stopper all afternoon. All six singers have major arias, but Catarine’s was the only one to make people sit up and listen. Her runs were clean, her control excellent, her stage presence animated.” Judy Richter, The Times. San Mateo, California. (About Merola Opera Program).

 

"La Bohème" announcement in The New York Times, January 19, 1997:

 

"[At] the Shubert Performing Arts Center. And indeed the Puccini favorite will indeed be presented in New Haven -- with full orchestra -- The cast is headed by Sara Catarine, Emmanuel di Villarosa, John Packard and April-Joy Gutierrez as Mimi, Rodolfo, Marcello and Musetta, roles that will be assumed at next Sunday's 2 o'clock encore matinee... Performances are to be conducted by Joseph Colaneri, music director of the City Opera's National Company."

 

LA BOHEME:

"...And Mimi's "Mi chiamano Mimi," sung extremely well by soprano Sara Catarine. Even at this early stage of the opera -- because most in the audience know Mimi's fate -- "The Big Onion" had begun to force some tears from a number of people in the audience... Those tears turned into bravos as the appreciative audience showed its gratitude to the performers for a great night at the opera."

 

By Robert Miner; Special to The Times Leader Saturday, Scranton, New York, February 01, (about New York City Opera National Co., 1997 tour).

 

LA BOHEME:

"...Sara Catarine, whose voice, full of lucid intensity brims with feeling as pallid death takes her...” Jonas Kover, Observer-Dispatch. Utica, New York (about New York City Opera National Co., 1997 tour).

 

LA BOHEME:

“Sara Catarine...was uniformly on the mark dramatically and musically. [She] displayed impressive dramatic skills...Catarine essayed her character with vocal subtleties that revealed an undercurrent of melancholy even in the joy of new love...” Ellis Widner, Arkansas Democrat. Little Rock, Arkansas (New York City Opera National Co., 1997 tour).

 

LA BOHEME:

“Sara Catarine brought her sturdy voice to the frail Mimi, combining some endearing swooning and coughing with some don’t-mess-with-me singing.” Justin Davidson, Newsday. New York (Long Island), New York (New York City Opera National Co., 1997 tour).

 

LA BOHEME:

"(Sara Catarine)...Sang the role excellently, yet it was the characterization which dominated. Her climb to sit on an upright piano to sing her “Waltz” was a riot. But when in the final scene Musetta must face Mimi’s death, Catarine still ran things, but now with a dark urgency...She won every encounter whereas Act III should be a stand-off.” Paul Somers, The Star Ledger. New Brunswick, New Jersey. (Western Opera Theater tour).

 

LA BOHEME:

[Mimi] Heartbreak clearly becomes Sara Catarine’s soprano...She turned both feathery and powerful in the last two acts, sounding specially sweet in “Donde lieta usci.” Rhonda Holman, The Wichita Eagle. Wichita, Kansas (Western Opera Theater tour).

 

DIE FLEDERMAUS:

"The Adele of Sara Catarine...was well acted and well sung.” Dan Wolfe, Burlington Free Press Burlington, Vermont (Western Opera Theater tour)

 

L’ELISIR D’AMORE:

Bordeaux 1995: [Adina]...[At her ease, we enjoyed a noticeable female protagonist]...With a voice of a more lyrical grain, of exquisite musicality and asserted phrasing...Graciously viper like...”

 

Casta Diva:

(“A Maria Callas in Memoriam” Concert) “The always professional Sara Catarine adapted her exquisite musicality to the Addio del passato, of Traviata, which she interpreted...Followed by an irreproachable O mio babbino caro, of Schicchi.”

Madama Butterfly: 

...(Orquesta Sinfónica Municipal 2005 production). “On april 8th first performance, Sara Catarine shined at her role of Cio-Cio San, as much as from the vocal point of view, as from the histrionic one...Here the soprano is the one who run the business: all the vocal and dramatic weight...Even the applause would restrict itself uniquely to the her endings of scenes, and, of course, to the expected –and well achieved- Un bel dì vedremo of Cio-Cio San.” Ana María Hernández (Concerto), El Universal, Caracas, 12 de abril de 2005.

 

"Tosca: risks and revelations":

"...By his side, Sara Catarine composed a Floria Tosca coming from less towards much... In act II, so demanding and frantic, her professionalism took control, and with impressive dosification, she remained steel-like, tortured, exposed at all times. And when she arrived to “Vissi d’arte”, she gathered all of her resources, and gave a sensible reading, of asserted gradings and moving effects. She stayed at that top in her third act." Einar Goyo Ponte, from his critics’ blog "Soundtrack Cotidiano", May 12th, 2012.

City Orchestras:

...(Mozart Festival Amadeus, Opera Gala 2004)… “Catarine made a true tour de force on her performing of the dramatic soprano parts (Donna Anna), lyric soprano (Contessa y Fiordiligi) and, most surprisingly, the coloratura of The Queen of The Night, from Magic Flute, managing in every register and role with admirable fluency and precision. Also acted some advance students of Catarine, who showed an excellent –and I do not exaggerate- preparation level...I estimate that some of the young voices I heard are very promising...Per aspra ad astra.” Javier Sanson, (Música de Sol Fa), El Universal, Caracas, february 17, 2004.

PRESS COMMENTS:
EVENTS:

Opera at the Keyboard Museum:

Sara Catarine...of noble phrasing and deep interpretative conviction...She sang a memorable and suggesting Suzel of L’Amico Fritz, of Mascagni...”

 

About Opera, Sung and in Writing:

..."Because of her easiness in the upper range, the voice of Sara Catarine gallops between both the light soprano colors and the more robust ones...Catarine started with the difficult “Come scoglio” from COSI FAN TUTTE, which the soprano followed with great polish of style, audacity in the violent changes of tessitura which characterized this aria...this singer has a particular affinity with Puccini, because of the elegant and sensual line, the search for inflections and delicate tones and the amplitude of the phrasing...the Musetta of BOHEME, and the Magda of LA RONDINE, were the heroines incarnated at this time; in the first one she gave a luminous justness of expression...the “Sogno di Doretta” was the prime banner of the concert. The sweet initial sounds of the phrases, the largeness of the melodic line, the exact smorzandi were worth the emotive ovation that made her repeat this fragment...of plenteous singing in the important phrases and a very beautifully and carefully sustained pianissimo at the end. Beautiful rendition.” Einar Goyo Ponte, El Nacional, Caracas, Venezuela.

 

The Passion according to La Camerata (Camerata de Caracas) “Sara Catarine...who gave an extraordinary interpretation, by the dexterity in the difficult melismas of Bach, and by the long-lasting legato of the arias “Ich folge dir” and “Zerfliesse mein Herze” respectively.” Rodolfo Malibrán, El Nacional, Caracas, Venezuela.

 

Verdi´s Requiem:

(Manuel Hernández-Silva, conductor)...”Sara Catarine is a lyric soprano of a beautiful and clear voice. Her most important intervention is at the end of the Requie.: the aria “Libera me”. Catarine offers us a clean and pure singing, moving, displayed upon the choir and the dense orchestra. Her melodic line is of great beauty and her passages in the spoken style are very well achieved...This talented group of venezuelan singers have pointed out a north with their interpretation...The immense light of light...” Hugo Alvarez Pifano, El Nacional, Caracas, Venezuela, November 2001.

 

Verdi at Altagracia:

...To conclude in the most impressive way, with the choir and the soprano not singing but groaning and imploring, not with an amen, or a glory, neither with praises to God or the heavenly joys, but with a Libera me, very human, expecting. Sara Catarine, to whom [the] latin [language] conferes notable freedom, [she] got vibrant colors and a palace-like frasing.” Einar Goyo Ponte, El Mundo, Caracas Venezuela.

 

El Tambor de Damasco:

…”The interpretation of Sara Catarine’s final recitative was the closest to listening an aria, which she did with true eloquence and showing the inmportance of her own lyric-spinto soprano.” Hugo Alvarez Pifano, El Nacional, Caracas, Venezuela, November 2003.

Language:

Sara Catarine - Español
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