Reviews

Haydn and Mozart Concert Australian Classical Era Orchestra

“London-based Australian soprano Kathyrn McCusker then joined the orchestra on stage for two of Mozart’s best-loved arias Aminta’s L’amero, saro costante from The Shepherd King and the Contessa’s Dove sono from The Marriage of Figaro. 


This was exceptional singing, McCusker’s sweet, unforced tone effortlessly filling the hall without seeming too strongly contrasted with the more subtle projected sounds of the historic instruments. 


This was even true in the second half of the concert, where McCusker’s considerable dramatic skills were on display in Donna Anna’s aria from Don Giovanni and Konstanze’s aria from Mozart’s Escape from the Seraglio.”

The West Australian

Britten, Tytania, A Midsummer Night’s Dream Australian Opera, Sydney

“McCusker is also a fine Tytania, a beautiful voice with power and sensitivity.”

The Star Observer


“Kathryn McCusker’s Tytania was expertly sung (a secure future there).”

Opera Now

Britten, Tytania, A Midsummer Night’s Dream Edinburgh Festival

“As Tytania, Kathryn McCusker floated her treacherous, high-lying phrases with grace
and ease.”

The Independent

Mozart, Countess, Le nozze di Figaro West Australian Opera

“Kathryn McCusker was a convincing Countess, moving around the stage as if it were her natural milieu, with scrupulously clear emunciation of her lines and a malleable face that accurately reflected the emotions of a woman wronged.”

The West Australian

Mozart, Ilia, Idomeneo Australian Opera, Sydney

“Ilisa, the captured daughter of the vanquished Trojan King, who loves Idamante against her loyal inclination, was beautifully portrayed by Kathryn McCusker, with a bright, forward voice and a graceful bearing.”

The Bulletin

Mozart, Zerlina, Don Giovanni Australian Opera, Sydney

“Kathryn McCusker’s Zerlina was a delectable creation. She sang and acted with an arch style which belied the character’s supposed innocent purity. She knows how to manage her man, although she bit off more than she could chew with Don Giovanni. Her aria Batti batti was equisitely shaped, persuasively coaxing Masetto into a better state of mind.”

Opera Australia 

Mozart, Susanna, Le nozze di Figaro Opera Australia, Sydney

“Only Kathryn McCusker (Susanna) achieved any memorable singing (in her ravishing aria, Deh vieni, non tardar).”

Sun Herald

Mozart, Pamina, Die Zauberflote Australian Opera, Sydney

“The performance that shows the most spectacular growth is Kathryn McCusker’s Pamina. Already a fine, tall figure of a heroine, she now colours her voice far more tellingly”.

Opera Australalasia 

Gluck, Iphigénie, Iphigénie en Tauride Opera Australia, Sydney

“…they both shine. So does Kathryn McCusker, who is very convincing both vocally and histrionically. Serious artist, devoted to her work, Kathryn McCusker manages to convey all the innocence and nobility her role demands. To an audience, it seems that McCusker knows her Iphigénie intuitively. This is a great achievement for every artist, even greater for a relatively young talent.”

The South Sydney Bulletin


“Kathryn McCusker’s natural shine is hard to hide inside an Iphigénie, and her singing is pure pleasure.”

The Sunday Telegraph 

Handel, Romilda, Xerxes Victoria State Opera

“Kathryn McCusker as Romilda, the desirable object of her brothers’ affection, sang with a winning quality, true and flexible.”

The Bulletin


“As Romilda, Kathryn McCusker was every bit the delicious prize she is supposed to be, wonderful to look at in repose, deliciously yoluptuous in movement, wonderfully caressing to the ear. It was yet another significant step forward and upward for this rapidly developing young artist.”

Opera Australasia 

Rameau, Iphise, Dardanus Pinchgut Opera, Sydney

“Then, turn your attention to Kathryn McCusker as Iphise, statuesquely draped in orange by designer Hamish Peters, and commanding the stage with a warm, noble sound as she enumerates the complications of falling in love with the conqueror of her father’s kingdom.”

Sydney Morning Herald 


“As the love object of everyone in sight, Kathryn McCusker’s Iphise was as voluptuous to the eye as to the ear. Her striking beauty and physical presence were complimented by positive torrents of ravishingly entrancing soprano sound; there was never the slightest doubt she was a princess well worth falling on one’s sword for.”

Opera-Opera