“Mezzo Kate Howden as Baba the Turk (added) great human depth to this role which often becomes a caricature” - Rake’s Progress, Expressen

“Kate Howden…has (a) high quality voice and knew how to fill important and great musical details to the bearded woman.” - Rake’s Progress, El Paìs

"Kate Howden’s Cinderella is musically sensitive, though still providing fire as necessary", Cendrillon, Classicalsource

"Kate Howden’s Cinderella came across with charming simplicity, her graceful, generous mezzo well suited to the part", Cendrillon, Bachtrack

"But it was Penelope – sung by Australian mezzo-soprano Kate Howden – who was centrestage in this suite of highlights, delivering a dark, lush performance of Penelope’s Lament, Di misera regina. Her voice was full-toned, with an easy resonance, the timbre brightening as she sung of Ulisse’s “longed for day of return.”" - Ulysses Now, Canberra International Music Festival, Limelight magazine

"mezzo-soprano Kate Howden stole the show with “Penelope‘s lament”. Her rich, vibrant voice and her impassioned, full-blooded grip on the role suggested a considerable operatic future as she flung herself into the phrases of unfulfilled longing that Monteverdi made his own." - Ulysses Now, Canberra International Music Festival,

"Howden’s voice penetrated the NLA with authority, amazing volume and a subtle tension" - Nine Lives, Canberra International Music Festival

"Kate Howden’s exceptionally clear and luxuriant mezzo, combined with natural and expressive acting, made us wish the servant-girl Carlotta had a larger role." - La scuola de'gelosi, Bachtrack

"Howden, standing in at short notice, did well to shape Massenet’s lines with simple elegance. She coped well at the top and her fresh sound blended pleasingly with Simkin’s mezzo." - Jette Parker Summer Performance ROH, Opera Today

"...the rest of the time, my eye felt drawn to the musicians –particularly Kate Howden’s lovely evocation of the pining Penelope. While the acrobats whipped their bodies into big, brazen, joint-defying shapes, I relished the subtlety in the way the music affected her, the way she might lift her arm unexpectedly as she sang, the sense that she was experiencing as much as she was performing." - The Return, The Globe and Mail

"Mezzo-soprano Kate Howden accompanies the action with excellent legato lines and intelligent baroque ornaments. She sings with a fine balance of sound technique and emotion." - The Return,

" chanteuse mezzo-soprano Kate Howden, qui se déchire l’âme..." - Il Ritorno, Huffington Post Quebec

"Celine Lowenthal's delicate direction let the mezzo Kate Howden carry the drama in her eyes and voice, leaving space for Turnage's score to speak eloquently. Howden was exceptional, the understated gentleness of her performance provocative in the moral friction it offered. Hers is an even, impeccably produced voice, and the beauty and control she brought to her fractured musings offered a very different portrait of trauma to Pierard's." - Twice Through the Heart, Opera magazine

"Kate Howden brings much power to bear on the role's dramatic and vocal demands" - Twice Through the Heart,

"Kate Howden sang superbly" - Twice Through the Heart, The Times

"Howden's well modulated and quite deep mezzo-soprano voice was shown off nicely with some stylish ornaments and fine passagework, plus a lovely sense of humour" - The National Opera Studio at Rhinegold Live,

"...the atmospheric 'Morte de Socrate' and a spell binding performance from Kate Howden - her voice raising over the circular figures from the piano." - Mort de Socrate, King's Place Minimalism Festival with Joanna Macgregor,

“Kate Howden, with straw-boater and public-school uniform, makes Isolier both likeable and believable.” – Count Ory,

“Kate Howden as Bianca again displayed her virtues of clarity and poised intensity” – The Rape of Lucretia, Opera magazine

“…the mezzo Kate Howden brought substance to the role, both dramatically and vocally, notably in the hauntingly repeated ‘Vous etes mon Prince Charmant’. With her firm, even voice she would make a fine falcon Prince.” – Cendrillon, Opera magazine