Reviews

"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 slightly fuller 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, broadwayworld.com

"...la 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 benefits from Celine Lowenthal's direct vision, allowing a clean line of emotional sight to the rotting heart of this uncomfortable work" - Twice Through the Heart, independent.co.uk

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

"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, plantehugill.com

"liquid singing...expressive mezzo Kate Howden" - Il Ritorno, theartsdesk.com

"...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, planethugill.com

“(Count Ory’s) rival in the form of little bro Isolier, perfectly captured by mezzo Kate Howden”  - Count Ory, www.whatsonstage.com

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

“Kate Howden was a delightfully tart yet caring Bianca” – The Rape of Lucretia, RAO, bachtrack.com

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

“The title role was taken by another Australian, this time a mezzo as Massenet intended.  This was Kate Howden, a young artist of considerable integrity and technical assurance.” – Cendrillon, RAO, Brian Dickie

“…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

“Particularly moving was the duet between mezzo Kate Howden and cellist David Burrowes, which was performed with exquisite tenderness. Many audience members were deeply affected by the emotion of this movement.” – St John Passion, ‘Portsmouth News’