“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. ”

“Like the score, Pierce’s libretto provided full portraits of the major characters, as well as telling vignettes for the supporting players. Among the latter, bass Joshua Jeremiah stood out . . . as did Katrina Thurman as the unpleasant Miss Lightfoot. ”

“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. ”

“Among the many secondary roles, Katrina Thurman’s somewhat frivolous Blanche Ingram deserves a mention”

“As Rochester’s matrimonially minded friend Blanche Ingram, soprano Katrina Thurman was appropriately highhanded and domineering.”

“Outstanding in a smaller role was Katrina Thurman, another soprano, who played Blanche Ingram: bitchy, catty, well-nigh villainous. The soprano sang with confidence and lyric power. ”

“Feast for the eyes and ears, slender soprano Katrina Thurman sings and dances the role of Adina with agility and humor.”/“Régal pour les yeux et les oreilles, la longiligne soprano Katrina Thurman chante et danse le role d’Adina avec agilité et humour.”

“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 Adina role makes this production a must-see.”

“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.”

“Katrina Thurman brought a bright, facile sound to the role of Musetta, along with the theatrical depth to create a character that was both insufferable in her behavior and deeply loyal and compassionate with her friend Mimi.”

“Katrina Thurman played the flirtatious and independent Musetta, the once and future lover of Rodolfo’s friend Marcello. . . her soprano voice . . is appealing and matches her character well. Thurman also proved to be a fine actress in one of the opera’s most comic moments. She kept lifting her skirt to show her leg while her embarrassed lover Alcindoro attempted to pull the skirt down.”

“Thurman and Belcher are great fun throughout this scene, each smoldering with jealousy and desire, and each determined not to reveal it. Thurman plays well the part of the Parisian fashion plate, enjoying the attentive stares of the crowd and hoping to attract the one pair of eyes determined not to be seen watching her. . . equally earning the spotlight are Belcher and Thurman, as Marcello and Musetta, truly the “Benedick and Beatrice” of this work. They sparkle in their scenes together, truly capturing the passion of this tempestuous relationship.
”

“Katrina Thurman as Musetta was perfect in both voice and in her depiction of 19th century sluttiness, all the more appropriate for her later transformation to an empathetic, caring person during Mimi’s death scene.”

“The singing is first-rate. . . Bojan Knezevic as Marcello and Katrina Thurman as Musetta make another fine pair of singing lovers. . . Thurman also succeeds in tickling the collective funny bone in the way she complains about that “pain” in her foot.”

“it isn’t necessary to splice in high notes sung by another singer, as it was in the movie. Thurman’s clear soprano nails each note nicely, thank you. All of the principals, in fact, are to be commended for their accuracy and much-welcome diction.”

“This production, which was performed at the Community Center Theater Friday evening (and continues Sunday afternoon), 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”

“Thanks to . . . a fine cast that seemed to tap directly into the spirit of the show, Tulsa Opera’s ‘The Most Happy Fella’ made its opening night audience quite happy. . . Thurman sang well - her rendition of ‘Somebody, Somewhere’ was especially good.”

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

“Soprano Katrina Thurman as Martha stands out for her wonderfully clear, pointed sound and the natural warmth she brings to her character.”

“Katrina Thurman, a soprano, was perky as Martha . . . All of these performers sang excellently, their clear diction a particular boon . . . ”

“Katrina Thurman’s pure, fluttering soprano well opposed the percussive movement of the ensemble.”

“The two female leads. . . Katrina Thurman as Adele, were in fine vocal form throughout the evening. Thurman’s light lyric soprano, which borders on soubrette, is perfectly suited to the role of the maid, Adele. She has an immediately attractive bright and warm vocal timbre. . . During Thurman’s Broadway-like number If I were a Country Girl, where her character is asked to prove she has sufficient talent to be an actress, it became abundantly clear that this is a singer equally at-home with musical theater and opera. 
Thurman’s signature second-act number, the Laughing Song, was for my tastes the standout number of the production. This irresistible waltz can paste a smile on every face, inviting the listener to sway side to side in-time with each OOM-pah-pah. And her delivery was picture perfect. Thurman is also a fine comedic actor who several times nearly stole the show with her onstage antics and gesticulations. Her whining and maudlin tears over her “sick aunt” were a constant source of belly laughs throughout the first act.”

“Soprano Katrina Thurman as Rosalinde’s maid, Adele, sparkles in Act II with her aria known as the “Laughing Song,” and she is vibrant when convincing the jailer that she is an actress.”

“Director Stephen Lawless and a uniformly wonderful cast, led by a spiritedly comic Dimitri Pittas, provide bright, sunshiny fun in this lively, fast-moving, exuberant staging of Gaetano Donizetti’s romantic comedy for Opera Philadelphia . . . Katrina Thurman joins her castmates in giving a large, vibrant performance that still defines Giannetta’s character. ”

“. . . the engaging cast of this cleverly reimagined version embraces the lighthearted wit and romantic sentimentality of the bel canto classic, displaying both their acting skills in the updated sight gags and their vocal talents in the familiar score. . . soprano Katrina Thurman amuses as the village gossip Giannetta.”

“Katrina Thurman is a lively Gianetta, well-paired with Shafer ”

“. . . Katrina Thurman’s Giannetta provided a sympathetic foil to Shafer’s Adina. ”

“Katrina Thurman’s attractive Giannetta”

“Thurman (in a slinky, sparkly red rose gown) gave “Popular” a spunky sheen and brought the winsome, dreamy “Ain’t It a Pretty Night” through her full vocal range. She followed the playful “By Strauss” (by the Gershwins), which pans Broadway of Berlin, Porter and Kern and begs for waltz oom-pa-pah, with a show-stopping rendition of “Sempre Libera”.”

“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.”

“...herein lay a castwide problem: So much theatrical multitasking in a production like this is going to take its toll somewhere, especially early in the run, and here it was the singing. . . except for Katrina Thurman’s Berta (who made her often-cut aria pull its comic weight).”

“I cannot fail to mention the delightful Berta of Katrina Thurman. Berta is more an acting role than a singing one, although Miss Thurman sang and acted beautifully.”

“…soprano Katrina Thurman’s Berta, who took what might be considered a cameo or throwaway role and transformed it into a lustrous showcase of all her assets.”

“The success of the evening was due to an incredible cast. . .Bass Peter Volpe and soprano Katrina Thurman were delightful as Basilio and Berta, providing further hilarity.”

“Peter Volpe (dishonest music instructor, Don Basilio) and Katrina Thurman (Berta, the maid) are both fine character actors who are a joy to hear sing. Thurman in particular had the audience in stitches several times.”

“The production features a top-notch cast of beautifully matched, technically polished voices, which belong to a group of theatrically savvy singer/actors. Creating engaging, credible characters and playing off one another beautifully, cast members deliver Rossini’s music, complete with its fast, melismatic vocal passages, as though it’s all just great fun. . . Katrina Thurman brings ringing, facile vocals to Berta.”

“the outstanding cast ignited an unanticipated spark of vocal and dramatic excitement . . . Katrina Thurman as Berta the maid received some appreciative audience attention. This outstanding production rests on the remarkable vocalization of an inspired cast.”

“Soprano Katrina Thurman and baritone Jim Weitzer captivated the audience with Gershwin gems including “I Got Rhythm,” “Embraceable You,””Someone to Watch Over Me” and “S Wonderful.”

“Soprano Katrina Thurman won everyone over in her nostalgic return to childhood in “Knoxville: Summer 1915,” by Samuel Barber (1910-1981). Thurman had a dramatically endearing presence as her luxurious voice gave life to the lyric rhapsody based on a prose poem written by James Agee. As she sang of her losses with tenderness, her delivery was impeccable . . . she gave a dreamlike quality to Barber’s music.”

“Act I is heavy with exposition, setting up the intricate web of identities and plot lines, but the performers breathed life into each scene by making every line count and every song important. The ensemble work was stunning, with nice chemistry among Yum-Yum, Pitti-Sing and Peep-Bo on “Three Little Maids from School are We,” . . . Act II gives Katrina Thurman opportunity to take the spotlight when her aria “The Sun Whose Rays Are All Ablaze” signals Yum-Yum’s transformation from innocent school girl to vain young woman.”

“The hopes of the young Tartar Alyeya were transported by the round voice of Katrina Thurman.”

“ . . . Katrina Thurman as Alyeya shares moments of most tender intimacy”

“Katrina Thurman was the highlight in this somber opera without women and heroes.”

“That even smaller roles can become substantial is proven admirably by Katrina Thurman . . .”

“. . . and last but not least, Katrina Thurman as the young Tartar Alyeya, the only major female role in the piece. The highest acknowledgement must be given to these and other colleagues not mentioned here.”

“Katrina Thurman sang the divine interludes of the goddess Venus with a light vocal elegance.”

“One should note Katrina Thurman’s vocally brilliant European debut.”

“Venus frees him from the prison moving gracefully through the scene in her Baroque costume. Katrina Thurman appears with her silvery, floating soprano.”

“Katrina Thurman was an appropriately coy Barbarina”

“Of the supporting cast, we have to highlight the work of . . . Barbarina of Katrina Thurman, accurate and convincing in her brief role.”

“The singers — Katrina Thurman, a soprano . . . offered rich, engaged performances. Constantly shifting between firsthand declamation and third-person observation, they achieved a gabby intensity more often encountered in Stephen Sondheim’s musicals than in the opera house. ”

“… Katrina Thurman made a great impression”

“The rest of the cast upheld the high level (of performance), particularly the three nymphs . . .”