Discography

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 "... a judicious mix of not-too-brash bravado and playful sensuality makes this performance just the ticket."   Richard Fairman, Gramophone, March 2013   "An irresistible recital ...Broderick becomes entertainer supreme, with knowing, vividly characterised and confiding performances..."  *****  Hilary Finch, BBC Music Magazine, March 2013

"... a judicious mix of not-too-brash bravado and playful sensuality makes this performance just the ticket."

Richard Fairman, Gramophone, March 2013

"An irresistible recital ...Broderick becomes entertainer supreme, with knowing, vividly characterised and confiding performances..."

***** Hilary Finch, BBC Music Magazine, March 2013

 "Katherine Broderick sings with heaps of passion and drama, her thrilling top B towards the end of the first movement riding the massive swell"   Gramophone Magazine Andrew Achenbach 2015

"Katherine Broderick sings with heaps of passion and drama, her thrilling top B towards the end of the first movement riding the massive swell"

Gramophone Magazine Andrew Achenbach 2015

 "Her powers of expression, so vivid and telling on stage, communicate well in this  rewarding recital disc ... Broderick turns every song into a miniature drama, delivered with elegance of line, sensuality and sharp wit, well supported by her excellent colleagues."   Fiona Maddocks, Guardian, October 2016   "[H}er steely soprano and declamatory way with words serve her wonderfully well when it comes to Debussy and Ravel. She delivers ‘Aoua’ from the  Chansons madécasses  with blistering heft, and her no-frills way with the rest of the cycle makes it sexier and subtler than the suggestive approach favoured by some interpreters... there are also some rapturous high  pianissimos"    Tim Ashley, Gramophone Magazine 2016

"Her powers of expression, so vivid and telling on stage, communicate well in this rewarding recital disc... Broderick turns every song into a miniature drama, delivered with elegance of line, sensuality and sharp wit, well supported by her excellent colleagues."

Fiona Maddocks, Guardian, October 2016

"[H}er steely soprano and declamatory way with words serve her wonderfully well when it comes to Debussy and Ravel. She delivers ‘Aoua’ from the Chansons madécasses with blistering heft, and her no-frills way with the rest of the cycle makes it sexier and subtler than the suggestive approach favoured by some interpreters... there are also some rapturous high pianissimos"

Tim Ashley, Gramophone Magazine 2016

 "Broderick’s soprano has Wagnerian power but she controls it well to produce gorgeous pianos. “Desire” and “Hebrew Song” find her scaling down her voice beautifully, while “Where are you, little star?” finds her caressing the vocal line tenderly. She can do wit too, and “Gathering Mushrooms” is full of the sort of peasant characterisation you’d find in Boris Godunov. There is inexorable power in the finale to “Serenade”, a hypnotic “Trepak” and a no-holds-barred “Field-Marshal” you wouldn’t want to mess with. Broderick's is a supremely accomplished account."   Mark Pullinger, Gramophone Magazine 2016

"Broderick’s soprano has Wagnerian power but she controls it well to produce gorgeous pianos. “Desire” and “Hebrew Song” find her scaling down her voice beautifully, while “Where are you, little star?” finds her caressing the vocal line tenderly. She can do wit too, and “Gathering Mushrooms” is full of the sort of peasant characterisation you’d find in Boris Godunov. There is inexorable power in the finale to “Serenade”, a hypnotic “Trepak” and a no-holds-barred “Field-Marshal” you wouldn’t want to mess with. Broderick's is a supremely accomplished account."

Mark Pullinger, Gramophone Magazine 2016


 "If Katherine Broderick (Helmwige) can continue to fling out Cs with such easy brilliance, she seems set to follow Bullock (Brünnhilde.)"   Anna Picard, The Independent, 24 July, 2011   "Katherine Broderick’s Helmwige (a Brünnhilde in waiting) flamed out in the formidable lineup of Valkyries."   Hilary Finch, The Times, 18 July, 2011  

"If Katherine Broderick (Helmwige) can continue to fling out Cs with such easy brilliance, she seems set to follow Bullock (Brünnhilde.)"

Anna Picard, The Independent, 24 July, 2011

"Katherine Broderick’s Helmwige (a Brünnhilde in waiting) flamed out in the formidable lineup of Valkyries."

Hilary Finch, The Times, 18 July, 2011 

 “What a concentration of talent in one place! … The enterprise is crowned by a barnstorming account from Katherine Broderick of 'Hexenlied'”   International Record Review 2010

“What a concentration of talent in one place! … The enterprise is crowned by a barnstorming account from Katherine Broderick of 'Hexenlied'”

International Record Review 2010

 "Katherine Broderick brings by turns a forlorn beauty and a fiery plangency to the Pushkin settings of The Poet's Echo."  ****  BBC Music Magazine, August 2011

"Katherine Broderick brings by turns a forlorn beauty and a fiery plangency to the Pushkin settings of The Poet's Echo."

**** BBC Music Magazine, August 2011

 "Katherine Broderick unleashes her considerable soprano as the wretched Miss Jessel."  ***** Opera Now Choice   Francis Muzzo,   Opera Now, May, 2014    "Katherine Broderick gives a fully rounded performance as Miss Jessel, fleetly sung when she joins in on Quint's scampering music but so strong in her scene alone with the Governess that this becomes the focal point of the opera."   William R. Braun, Opera News, April 2014

"Katherine Broderick unleashes her considerable soprano as the wretched Miss Jessel."

***** Opera Now Choice

Francis Muzzo, Opera Now, May, 2014


"Katherine Broderick gives a fully rounded performance as Miss Jessel, fleetly sung when she joins in on Quint's scampering music but so strong in her scene alone with the Governess that this becomes the focal point of the opera."

William R. Braun, Opera News, April 2014


 "Katherine Broderick's star-bright soprano creates sensuous nocturnes of silent love”   BBC Music Magazine, March 2015    “Kynoch's accompaniments are beautifully sensitive, flexible and transparent throughout, and all three singers engage intelligently with the texts. Katherine Broderick's performances, often have an infectious twinkle in their eye.”    Gramophone Magazine, April 2015

"Katherine Broderick's star-bright soprano creates sensuous nocturnes of silent love”

BBC Music Magazine, March 2015 

“Kynoch's accompaniments are beautifully sensitive, flexible and transparent throughout, and all three singers engage intelligently with the texts. Katherine Broderick's performances, often have an infectious twinkle in their eye.” 

Gramophone Magazine, April 2015

 Katherine Broderick, a Wagnerian soprano of the future, impresses with her vibrant intensity in the three Op 95 songs.   Gramophone Classical Music Guide, 2010

Katherine Broderick, a Wagnerian soprano of the future, impresses with her vibrant intensity in the three Op 95 songs.

Gramophone Classical Music Guide, 2010

 Rhinemaidens and Norns (definitely some Wagnerians of the future here) are rich individually and together.   Mike Ashman, Gramophone Magazine 2010

Rhinemaidens and Norns (definitely some Wagnerians of the future here) are rich individually and together.

Mike Ashman, Gramophone Magazine 2010