Reviews for performances by Cathy Pope: stage name Cathryn Pope.

Cathryn Pope publicity photo

Selected reviews for Cathy's performances on stage.

Sophie Werther English National Opera. October 1987.

There was charm . . . . in the portrayal of Sophie, the younger sister, by Cathryn Pope. In a debut performance with ENO she revealed an enchanting personality and a sweet voice that is capable of laughter . . . . The Standard

As Sophie . . . . Miss Pope displayed an extraordinary degree of musical insight and dramatic intelligence, as well as a ravishing soprano voice . . . . if there's any justice in the world of opera you'll be hearing a great deal more of her in years to come . . . . Daily Express

. . . . touching as Sophie, making her into far more than a giggling companion. Her love of Werther, the frustration it creates, and her bravery come over vividly against the baldness of the production . . . . Guardian

Despina Cosi fan tutte English National Opera. July 1988.

. . . . it was the Despina of Cathryn Pope that made this Cosi for me; she is always an attractive performer and I could have hugged her for taking this delicious role away from the wretched, piping, finger-wagging, hands-on-hips, little-miss-know-it-all it so often is and making it into a real flesh-and-blood figure . . . . What is more, she sang delightfully . . . . Music and Musicians

. . . . a capacity to see the serious side made this character unusually interesting . . . . she delivered both her arias cleanly and firmly . . . . Daily Telegraph / The Independent

Marguerite Faust New Sussex Opera. May 1989.

This is a bold erratic (production) containing two hits : Cathryn Pope lays down a challenge . . . . as a child-like Marguerite, with considerable resources of volume and sweet tone through to the closing trio . . . . The Times

Cathryn Pope's Marguerite is the essence of the sweet-voiced innocent driven mad by forces she cannot control. Her " Jewel " aria is sung to perfection . . . .

Gretel Hansel and Gretel English National Opera. December 1987 and December 1990.

. . . . the star of the evening is Cathryn Pope, who sings with delectable freshness while offering a wholly credible portrayal of a teenage Gretel. Every note and every gesture is spot on . . . . Observer

. . . . her pure and radiant soprano winged effortlessly through the Coliseum's spacious auditorium - a jewel of a performance, easily worth the price of a ticket on its own . . . . Sunday Telegraph

The Gretel of Cathryn Pope, whose soprano is filling out most beautifully, is perhaps the evening's star . . . . Financial Times

Oksana Christmas Eve English National Opera. December 1988.

The chief vocal honours go to the insistent hero and finally satisfied heroine - Cathryn Pope - her beautiful singing far transcending in timbre, intonation and expression . . . . not to be missed . . . . Sunday Times

Cathryn Pope was spirited, attractive to look at and delightful to listen to . . . . Financial Times

Cathryn Pope was properly haughty as Oksana . . . . (she) is developing into one of our neatest and securest young sopranos . . . . Daily Express

Leila The Pearl Fishers English National Opera. April 1988.

. . . . initially fresh and tremulous as the priestess Leila, (she) sang the final stages with a confident and lustrous stream of tone . . . . Mail on Sunday

The Pearl Fishers is not to be missed . . . . for Cathryn Pope's melting Leila . . . . Guardian

Pamina The Magic Flute English National Opera. August 1990.

. . . . sings with style and grace . . . . sang a ravishing Ach, ich fühl's . . . . has a grave beauty when singing that I love . . . . lovely Cathryn Pope was excellent . . . . Independent / Daily Telegraph / The Stage / Financial Times

Mélisande Pelléas and Mélisande English National Opera. December 1990.

Cathryn Pope's wonderfully youthful Mélisande . . . . wilful, vulnerable, spontaneous and, at the end, deeply moving, sung with the cool clarity and precision of one born to play the part . . . . Financial Times

Cathryn Pope, as the hapless heroine, is completely in command of her role . . . . retaining our attention throughout with a beautifully judged vocal and dramatic performance . . . . The Stage

The beautifully sung Mélisande of Cathryn Pope is far from being simply a fragile waif but is more accurately portrayed as a girl who wavers disturbingly between innocence and duplicity . . . . Daily Telegraph

Special praise must go to Mélisande . . . . the outstanding Cathryn Pope was vulnerable, yet physically aware and unselfconsciously sensuous . . . . Guardian

Cathryn Pope's dazzling interpretation . . . . an eternally fascinating one ( Mélisande ) . . . . Evening Standard

Donna Elvira Don Giovanni English National Opera. August 1991.

Soprano Cathryn Pope as Donna Elvira is, I feel, among the quiet triumphs of this production, lightly yet effectively displaying the fickleness of a woman . . . . yet weak enough to fall under the seductive spell of Leporello . . . . Simon Berlyn

Chief interest of this Don Giovanni revival is Cathryn Pope's impressive Elvira, sprightly if sufficiently demure to be headed for a nunnery, susceptibly feminine and attractive in timbre . . . . Guardian

. . . . sang with refinement as well as intensity . . . . gave an excellent account of "Mi tradi" in which Elvira's passionate emotions were firmly under control . . . . Opera

Goosegirl Konigskinder English National Opera. February 1992.

As the hapless Goosegirl Cathryn Pope gave a wonderfully-committed, winning performance showing innocence without simpering and somehow knowing yet never coy . . . . Opera Now

. . . . a frail charming Goosegirl, singing with the necessary power to override the opulence of the score . . . . Evening Standard

Pope's singing combines the ice and flame of her look and demeanour . . . . beautiful, magical and vulnerable: she is altogether a fairy being, a stranger, with her voice adding to the impression of weightlessness she conveys by the way she moves . . . . Times

Susanna The Marriage of Figaro English National Opera November 1991 and November 1993.

The best singing, and indeed the most satisfying and subtle performance came from Cathryn Pope as Susanna, with a telling restraint and a hint of considerable mind instead of the usual pert soubrette . . . . The Guardian

Cathryn Pope is, as ever, a natural Susanna . . . . The Independent

Cathryn Pope's alert, potentially outstanding Susanna . . . . carries the opera along with a mixture of delicacy, robustness, directness and humour . . . . Sunday Times / Times

Miss Pope, also blessed with purity and sweetness of voice, provides a delightful characterisation of Susanna . . . . Guardian

Tatyana Eugene Onegin English National Opera. April 1994.

Cathryn Pope's Tatyana was the best performance I have heard from this soprano . . . . Sunday Telegraph ( Michael Kennedy )

. . . . making her debut as the love-struck Tatyana . . . . this will surely count as one of her triumphs . . . . she not only sings well but her acting is assured . . . . Daily Express

. . . . at the Coliseum in Cathryn Pope . . . . I have seen embodiment(s) of the Tatyana that Tchaikovsky pictured. Pope looks young, impetuous, touching; her acting is beautifully judged, with natural, unaffected distinction and grace . . . . she shaped the music with an artistic delicacy to which one responded . . . . The Observer

One's sympathy goes out to her, just as Tchaikovsky intended . . . . a mere adolescent, she is shy and uncertain of herself, a bundle of unformed impulses . . . . in her, the opera has found its heart . . . . Pope's Tatyana . . . . stimulates the emotions . . . . Financial Times

Cathryn Pope sings most attractively and touchingly as the younger Tatyana and engages in some truthfully observed exchanges with Olga . . . . The Guardian