R e v i e w s
As Norma, the valiant but flawed heroine, San Diego soprano Kathleen Halm was a tigress. Halm began to spit fire, dramatically and vocally, when she portrayed a desperate woman who is losing her husband and her honor.”
~Palm Beach Post, South Florida Opera’s NORMA
Kathleen Halm, who handles the role of Norma, has a voice that soared throughout the opera. How good was she? After the famed “Casta Diva” aria, members of the orchestra held their instruments with one hand while pounding their seats so they could applaud her. And that was one of many brilliant arias she sang, both solo and with others.
Halm, who graces many stages worldwide while centering her work near her home in San Diego, is clearly among today’s finest sopranos. Listening to Halm’s fabulous voice as she gave vent to the fiercest emotions — while watching her use her acting ability to back up that singing — was one of the best experiences this seasoned opera lover has ever had.
~Wellington Town-Crier, South Florida Opera’s NORMA
Cio-Cio San, played by Kathleen Halm making her debut with the South Florida Opera Company, makes a striking entrance with her family members. Both Halm and Christina Dominski, who plays the maid Suzuki, shine in the second act. Halm’s voice is breathtaking and full of emotion.
~Wellington Town-Crier, South Florida Opera’s MADAMA BUTTERFLY
As Aïda, Kathleen Halm, making a vital company debut, longs for her Ethiopian homeland in a tender, aching conversation with the woodwinds. Halm brings a lustrous tone and precision dynamics to Aïda. She may spend too much time singing on her knees, but comes sparking to life, eyes flashing, in the presence of her father and Radames.
~San Francisco Chronicle, Festival Opera’s AIDA
A production such as this one calls for strong singing actors, and the cast rose to their assignments admirably. Soprano Kathleen Halm was a poised an radiant Aida, one whose voice has the requisite ardor and tenderness. Halm sang beautifully, and her performance always made impeccable dramatic sense. There was plenty of chemistry between this Aida and her Radames, Todd Geer.
~Contra Costa Times, Festival Opera’s AIDA
Kathleen Halm has a beautiful voice with a range and intensity that expanded as the role demanded. She used her vocal instrument to its best ability and accompanied the huge sound with believable, powerful actions. “Wow!” was heard throughout the room.
~Wellington Town-Crier, South Florida Opera’s TOSCA
Kathleen Halm shines in the title role as a pillar of feminine strength with a divine voice while maintaining some lightness for comedy.
~San Diego Playbill, Lyric Opera San Diego’s PRINCESS IDA
A highlight of the evening was soprano Kathleen Halm, a confident singer with superb control of her sensuous voice.
~San Diego Union Tribune, San Diego Symphony’s CARMINA BURANA
Soprano Kathleen Halm was a congenial Alisa and her voice contrasted beautifully with that of Gilbert.
~Maria Nockin, San Diego Opera’s LUCIA DI LAMMERMOOR
Kathleen Halm as Fiordiligi and Lisa Agazzi as Dorabella were delightfully daffy in their performances as the women who wait as long as 20 minutes after they begin their arias of grief over their boyfriends’ assignment to the front to go and fall in love with others. The two women were both attractive and excellent singers. They brought just the right bit of fun to the action. The women were silly enough for the plot and delightful enough that they could still be loved. Their voices easily handled their parts, easing up to the high notes with no sense of strain.
~Wellington Town-Crier, South Florida Opera’s COSI FAN TUTTE
In the title roles, Ronald M. Banks (the King) and Kathleen Halm (Anna), two performers of wide theatrical and concert experience, give vivacious musical comedy style performances as the disputatiously sparring and ultimately almost affectionate couple. Halm’s Anna is full of spirit and scintillation. Halm’s singing is expressive and her voice pleasant.
~San Diego.com, Lyric Opera San Diego’s THE KING AND I