“Singing excerpts as Ortrud and Senta as well as her opening ‘Battle Cry’ as Brünnhilde, Sheppeard’s voice revealed a mezzo-ish quality and reminded me more than a little of Nina Stemme but her dramatic soprano was revealed as its impressive best by the time she sang her ‘Hojotohos’ again at the end. Her wonderful Schlussgesang as Strauss’s Salome had by then thoroughly warmed up her voice. This was a heartfelt confession of deranged love and at this point the venue didn’t matter and she engaged us with her engrossing performance.” Jim Pritchard, Seen and Heard International

Two Fine Australian Singers Show Their Mettle in London

“As principal roles for dramatic sopranos go, Norma is one of the most demanding in the bel canto tradition. However, Sheppeard wowed audiences and critics alike during her career-making ENO performance. One reviewer, Dave Snowden, wrote: “Rather than dashing for a train that would have got me home before midnight, I chose a ninety minute delay to applaud what was a magnificent effort in which [Sheppeard] took control of the stage,” adding, “The night belonged to Katrina Sheppeard… it was worth having to take the 2330 from Paddington, populated by an interesting mix of drunks and theatregoers” Maxim Boon, Limelight Magazine

An opportunity taken

“Die australische Sopranistin Katrina Sheppeard singt die Vanessa mit glühender Durchschlagskraft als Frau, die ihr Leben zur Spielfläche ihrer Phantasien macht.” (The Australian soprano Katrina Sheppeard sings the Vanessa with glowing penetrating power as a woman who makes her life the playing surface of her fantasies.) Monika Willer,

“Katrina Sheppard besticht durch Wandlungsfähigkeit. Ihre Vanessa erscheint durch frische Verliebtheit auch stimmlich verjüngt.” (Katrina Sheppard offers versatility. Her Vanessa also appears rejuvenated vocally by fresh infatuation.) Andreas Falentin,





Kate Sheppeard – Vanessa, Theater Hagen from Bobby Williams on Vimeo.