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KATRINA THURMAN

SOPRANO

BIOGRAPHY

Soprano Katrina Thurman has been praised for her “remarkably vibrant and flexible voice”(Gramophone) and her “wonderfully clear sound and natural warmth of character” (Opera News). She is a versatile artist who has built a solid reputation performing traditional operatic repertoire while specializing in contemporary opera and musical theatre. Her repertoire encompasses over 45 roles in six languages and has taken her to theaters including the Metropolitan Opera, Opéra de Lyon (France), Oper Bonn (Germany), Opera Philadelphia, The Dallas Opera, the Glimmerglass Festival, Lyric Opera of Kansas City, Florentine Opera, New York City Opera, Florida Grand Opera, Opera Omaha, Utah Opera, Tulsa Opera, American Opera Projects, Syracuse Opera, and Aspen Music Festival, to name a few.


Recent seasons have included her stage début with The Metropolitan Opera as Meretaten in Akhnaten, her début with Opera Naples as Hildy in On the Town, and Love Notes 2.0: Sour Notes with East Passyunk Opera Project. Last season, she made her début with Virginia Opera as Miss Lightfoot in Gregory Spears and Greg Pierce’s Fellow Travelers, appeared in concert with East Passyunk Opera Project, and an alumni recital with Opera in the Ozarks. Upcoming engagements include her début with the Columbus Symphony for Mozart’s Great Mass in C minor. [read more...]

CRITICAL ACCLAIM


"... Katrina Thurman, whose singing glistened …” – Voix des Arts


Fellow Travelers – “The caliber of the vocal ensemble engaged by Virginia Opera for Fellow Travelers reflected the meticulous attention to musical and theatrical values with which the production was planned. . . The quintessential office gossip who makes all of her colleagues’ affairs her business, the secretary Miss Lightfoot was given unexpected depth by soprano Katrina Thurman, whose singing glistened even when the text that she sang was repulsive.”

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"... a remarkably vibrant and flexible voice…” – Gramophone


Romulus – “The cast is led by soprano Katrina Thurman who soars, exclaims and declaims as necessary. Hers is a remarkably vibrant and flexible voice…”

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"... enjoyably imperious agility..." – Opera News


Jane Eyre (recording) “Other high points include a passage for Blanche, the snobbish beauty Rochester has no intention of marrying, who can scarcely disguise her class condescension when referring to Jane. Katrina Thurman leaps through this bouncy aria with enjoyably imperious agility.”

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"... impressive vocal performances..." – Sacramento Bee


L’elisir d’amore – “Vania and Thurman give impressive vocal performances, living up to the task of filling the large Community Center Theater with their voices. . . The statuesque Thurman, who in this production looks more like a Hollywood starlet than a Napa Valley landowner, uses her strong and youthful soprano to great effect. The sense of comic spontaneity and sexual brio she brought to the role of Adina makes this production a must-see.”

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"... whose innocent intensity was captured sweetly..." – New York Times


Mrs. President – “Ms. Bond . . . did provide a Micaëla of sorts in Woodhull’s acolyte, Isabella Beecher, whose innocent intensity was captured sweetly by the soprano Katrina Thurman.”

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"... I like this Musetta a lot, and I like Thurman..." – Tom Strini Writes


La bohème– “All four principals and the two comprimario players harmonized throughout… Katrina Thurman makes an attractive Musetta, but Thurman and Florescu chose to accent her cleverness and force of personality rather than her flirty sexuality. She's brisk and clear in her singing and acting and not at all kittenish. She knows the score and plays by her own rules; I like this Musetta a lot, and I like Thurman.”

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"... Thurman offered a radiant soprano..." – Sacramento Bee


Rigoletto – “This production . . .  has two things going for it: a winning set from the Utah Opera and the vocal charms of soprano Katrina Thurman in the role of Rigoletto's chaste daughter Gilda. With her Gilda, Thurman offered a radiant soprano. . . Thurman gave the innocence of her characterization a sense that, despite her inexperience at love, she knew better but chose not to do better. Her performance of "Caro nome" saw her use her supple but strong voice to good effect with clarity and emotion. She had no trouble filling the large hall with her voice and she managed to transit the higher notes demanded by this aria.”

REPRESENTATIVES

Shawn Marie Jeffery

Vice President | Classical & Creatives


Adrienne Boris

Agent | Classical & Concert


Lisa Bremer 

Operations & Finance Manager

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