As for the scene stealing roles, Ruth and General Stanley – Kathryn Cowdrick and John Stephens respectively, are the very models of what these characters should be. Ft. Worth Opera, Pirates of Penzance, Star Telegram
Kathryn Cowdrick should be saluted in particular for some of the best English enunciation I’ve heard in ages, though all the singers in the companion opera disting- uish themselves this way as well. It’s encouraging to see how young American vocalists instinctively understand the drama in musical. Julia Child, Bon Appétit, ArkivMusic.com
Kathryn Cowdrick’s Madame Larina demonstrated how nuances of phrasing can render stock characters as plausible, compelling personalities. Tulsa Opera, Eugene Onegin, Opera News
In San Francisco Opera’s productions of The Medium with Regine Crespin and Monte Pederson.
As Mrs. Lovett in Sweeney Todd with Augusta Opera. (Gary Simpson, Sweeney Todd)
As Suzuki in Madama Butterfly. (Jake Gardner, Sharpless, Kaori Soto, Butterfly)
Kathryn Cowdrick’s Despina stole the show. Witty, wise, impertinent and with enough stage presence to threaten the ego of any actress and singer worth her salt, she made the most of her comic character. Her arias were impudent and wise, sung with tongue in cheek aplomb.Così fan tutte, NY Daily News
As the old Prioress, Kathryn Cowdrick commanded a regal presence. Her death scene was
less extreme than many, more filled with questioning and confusion that outright panic.Dialogue of the Carmelites, Arizona Opera, Arizona Republic
I can’t end without acknowledging Kathryn Cowdrick. As Berta, Bartolo’s aging maid, she’s mostly wallpaper until late in Act 2. God bless Rossini for letting her step out to sing a sweet, resigned aria about a life without love. The opera needs a truly touching moment, and Cowdrick made the most of it.Il barbiere di Siviglia, Florentine Opera, Journal Sentinel
Mezzo-soprano Kathryn Cowdrick as Zita was especially gifted in her wonderful facial expressions and gesture. She sang with a rich big voice.Gianni Schicci, Opera Saratoga Lake George, Schenectedy Gazette (Emily Newton, Nella)
Mezzo-soprano Kathryn Cowdrick brought both dignity and requisite bloodthirstiness to Katisha. If her final aria was curiously subdued, the scenes in which she appears ready to squash Ko-Ko like a bug were hilarious.The Mikado, Opera New Jersey, New Jersey Star Ledger
Mezzo soprano Kathryn Cowdrick’s performance of the Marquise proved as great a comedic success as it was vocally flawless. Cowdrick lent the aristocratic matron a sense of haughty foolishness to match Margaret Dumont in the classic Marx Brothers movie.La fille du régiment, Arizona Opera, Tucson Citizen
As Mrs. Lovett in Sweeney Todd for the Princeton Festival. (Harry Dworak, Sweeney Todd)
As Augusta Tabor in Baby Doe.
There are remarkable performances – mezzo Kathryn Cowdrick as the ingénue Rosina is a wonder. She revealed a remarkable ease with the coloratura, impeccable comic timing and a stage presence of undeniable warmth. Cowdrick accomplished all her tasks with panache and about a hundred or so slightly different, rapidly changing facial expressions. Her tepid strained smile at Bartolo’s kiss was perfection. Virginia Opera, Il barbiere Siviglia, Opera News, Virginia Star Ledger
In Cavelleria Rusticana with Fiorenza Cossotto and Ermano Mauro at San Francisco Opera.
As the Witch in Hänsel und Gretel with Augusta Opera
Vocal honors went to Kathryn Cowdrick’s Isabella, her contralto-ish tone retaining focus throughout a wide range, with no audible shift between registers. She delighted the audience with her agile throat and beefy tone, making her big patriotic showpiece a high point. Her Act 2 love song (done as per the original score, with cello obbligato) was ravishing. L’Italiana in Algeri, Chautauqua Opera, Opera News
As Katisha in Mikado with New York City Opera
As Baba in The Medium with the Eastman Opera Theatre
As Melanto in Il Ritorno di Ulisse with San Francisco Opera
As Mrs. Gibbs in Our Town with Opera Saratoga
The muse is given more music in this production leading to an apotheosis of unrequited love and alcohol. And this was fine, because mezzo Kathryn Cowdrick – who was a memorable Smeton in Anna Bolena here last season, was a welcome benevolent presence. Her warmth and perkiness were irrepressible, and her comic timing is unerring.Les contes d’Hoffman, Virginia Opera, Virginia Pilot (Craig Schulman, Hoffmann)
As Meg Page in Falstaff with Mercury Opera Rochester. (Jessica Dold, Alice Ford)
As the title role in Orfeo with Memphis Opera (2010).
Both [Rod] Nelman and [Kathryn] Cowdrick equate themselves well, bringing a strong sense of humor and physicality to their roles. As Marcellina in Le nozze di Figaro with Ft. Worth Opera. (Rod Nelman, Bartolo)
In Falstaff with Marilyn Horne as Dame Quickly, Pilar Lorengar as Alice, and Ruth Ann Swenson as Nannetta
She is a winsome Cinderella with a warm ,smooth sweet-as-honey mezzo. She engotiated the roles elaborate coloratura with panache and confidence and gives us a plucky heroine worth rooting for.