Praised by The Washington Post for her “gorgeous, warm voice that you want to keep listening to,”American mezzo-soprano Catherine Martin continues to make an impact in repertoire ranging from Verdi and Wagner to Strauss and Bellini. Her 2019-2020 season included Wellgunde in Götterdämmerung with the National Taichung Theatre in Taiwan, the cover of Sister Helen Prejean in Dead Man Walking and singing the 2nd Norn in Götterdämmerung and Waltraute in Die Walküre at Lyric Opera of Chicago, and covering Marguerite in Berlioz’s Le damnation de Faust with the Metropolitan Opera. Engagements for this season include Waltraute in Twilight: Gods with Michigan Opera Theatre and Lyric Opera of Chicago and Dame Quickly in Falstaff with Berkshire Opera Festival as well as postponed or cancelled productions of Lohengrin with The Dallas Opera and Dead Man Walking with The Metropolitan Opera.
Highlights from recent seasons include Sister Helen Prejean in Dead Man Walking with Minnesota Opera and Dayton Opera as well as covering Sister Helen at Washington National Opera; performances in various roles from Wagner’s Ring Cycle with Lyric Opera of Chicago, Houston Grand Opera, Washington National Opera, Boston Symphony Orchestra, Dallas Symphony, and National Taichung Theatre; Amneris in Aïda with Houston Grand Opera, Opera Colorado, and Opera Santa Barbara; Adalgisa in Norma with Florida Grand Opera; Der Komponist in Ariadne auf Naxos at The Glimmerglass Festival; and Maddalena in Rigoletto with New Orleans Opera and Opera Santa Barbara. In addition, she has appeared in multiple contemporary operas including Mary in the world premiere of The Lion, the Unicorn, and Me with Washington National Opera; Genevieve in The Long Christmas Dinner with American Symphony Orchestra; Tamara in Enemies, A Love Story with Kentucky Opera; Eva Crowley in An American Dream with Lyric Opera of Chicago; and Sara Miller in Approaching Ali with Washington National Opera.