Eleanor of Aquitaine: King / Canterbury Cathedral
“It includes a striking passage of choral declamation and some poignantly lyrical solos for Queen Eleanor, radiantly sung by Kate Ladner.”
The Times
Manon / English Touring Opera
“…she had ardour and sincerity, and you ended up sympathising with a Manon who was not so much a callous, devious good-time girl as a passionate young woman who allowed the feelings of the moment to run away with her. Ladner sang with brightness, accuracy and confidence.”
The Daily Telegraph
Vitellia: La clemenza di Tito / Opera Australia
"Kate Ladner’s Vitellia was the opera’s superbitch and she did it well. Ladner not only flicked the switch between haughty imperiousness, implacable fury and seductive allure, she also varied her sound accordingly, finding a metallic flint when vengeful and becoming appealingly sweet-voiced as she lured the smitten Sesto to do her bidding.”
The Australian
“Kate Ladner, as Vitellia, had vivid life and fire, particularly at the top of her range, where it flashed like hair-tossing piqued anger.”
The Sydney Morning Herald
Countess Almaviva: Le nozze di Figaro / Opera Holland Park
“She was sung with opulent lyricism by Kate Ladner, who portrayed a convincing picture of passive distress.”
Opera Japonica
“Ladner’s pliant lyric voice, loaded with clarity and pathos, is perfect for the role, and it’s good to be reminded that Rosina is not some droopy matron but barely more than a girl.”
The Times
Magda: La rondine / Opera Holland Park
“Magda sits somewhere between the tragic Butterfly and the flighty Mimi as a character, joining the operatic line-up of fallen women in the vicinity of Violetta and Manon, but in Kate Ladner’s portrayal archetype falls away and she is freed up to be specific, illogical and human. Blessed with lyric tenor Sean Ruane as her Ruggero (who matches his lover dramatically if not quite vocally), Ladner is able to keep things impressively interiorised without ever losing the charge.”
The Arts Desk
“...her voice had the heft and gleam for this demanding role, and she was very affecting in the prophetic Act One aria ‘Chi il bel sogno.’”
Classical Source
“...warmly and strongly sung here by Kate Ladner.”
The Guardian
“Kate Ladner infuses the role of Magda with a soaring expressiveness.“
The Independent
“...Ladner’s singing has class.”
Independent on Sunday
“OHP’s joyous summer continues with La rondine which enshrines a dazzling performance as Magda from Kate Ladner. Her gleaming top makes it astonishing that she hasn’t embarked on a significant international career”
Mail on Sunday
“From her first aria, ‘Chi il bel sogno di Doretta’, her voice is characterised by soaring purity, as she applies vibrato intelligently and sparingly to bring out subtle textures in the music. She is elegant of bearing and seductive in tone, a yellow scarf wrapping around a velvety red dress in Act I, and Act III decking her out in Virgin white. When she changes her appearance to go out she becomes a wild, sensuous pre-Raphaelite lady that could have come straight from the hand of Dante Gabriel Rossetti.”
Music OMH
“The Australian soprano Kate Ladner is vocally and physically right this role: unlike Gheorghiu, there’s no imperiousness in Ladner’s Magda, just a warm, dignified beauty.”
Opera
“Kate Ladnerwas never less than superb as Magda, granting ready life to all the elegance and poise of a society hostess benefiting from the largesse of an extremely wealthy and sophisticated protector. The first act opens to find her holding court in her salon, wearing a striking red velvet dress embellished with yellow embroidery. Her portrayal was extremely convincing, affecting the right degree of aloofness initially before thawing as she remembers love in her youth and ultimately meets Ruggero. Her recounting of Doretta’s dream - ‘Chi il bel sogno di Doretta’, surely one of Puccini’s most charming arias - was lusciously phrased, her soprano swelling gracefully over the orchestra. Ms. Ladner owns a voice that is both beautiful and powerful, and she consistently evoked all the poignancy of this most tortured of women; her third act arias as she leaves Ruggero, ‘Figliolo, tu mi dici’, was utterly heartbreaking.”
Opera Britannia
“As Magda (the ‘swallow’ of the title) the Australian soprano Kate Ladner was glamorous, feminine and self-assured – she would have been a head-turner even without the stand-out costumes. Her poised and voluptuous soprano was perfect for “Chi il bel sogno di Doretta”. The small-talk of Act 1 and the intimate duet scenes.”
Opera Today
“Her anxiety is perfectly depicted by Kate Ladner, who offers a deliciously delicate account of the opera’s ‘big tune’ the Act I canzone, “Chi il bel sogno di Doretta”.
Oxford Times
”…revealed some eloquent phrasing, a flawless technique, exquisite pianissimos and some vocal heft when required. She brought her character vividly to life with all her heart-on-her-sleeve emotional turmoil. “
Seen and Heard International
Australian soprano Kate Ladner as Magda has a rich, expressive voice, nowhere more moving than in the scene where she realises she can’t be the virtuous bride that Ruggero’s mother expects from her daughter-in-law.”
Sunday Express
“The performances are strong, starting with Kate Ladner’s stirring Magda: this is a rich, plangent voice that oozes pathos...”
The Times
Aïda / State Opera of South Australia
“Kate Ladner’s Aïda, clad in white and silver, is gracious and convincing, capable of floating her voice above the orchestra in the big ensembles.”
The Advertiser
“With Kate Ladner as Aïda, Rosario la Spina as Radamès and Elizabeth Campbell as Amneris, this is a strong trio in the primary roles and the interaction between them, both in the balance of their voices and in their characterisations, works superbly.”
Glam Adelaide
“She brought to it a fine sense of phrasing and pleasing legato, especially in “Qui Radamès verrà”, with a fine fil di voce to finish. Her dramatic intensity was compelling throughout.”
Opera Britannia
Desdemona: Otello / Opera Australia
“As his hard-put-upon wife Desdemona, Kate Ladner brings strength of vocal and dramatic flair to the role, infusing her Willow Aria with intense grief and vulnerability…”
Aussie Theatre
“…Ladner’s performance and interpretation of the ‘Willow Song’ poignant in its tender lightness of touch and simplicity.”
Australian Stage
Violetta: La traviata / State Opera of South Australia
“Kate Ladner is outstanding as Violetta, as elegant and stylish in her singing, coming into her own in the latter part of the opera, floating her phrases exquisitely.”
Advertiser
“It’s a highly demanding role, not only musically but also physically and emotionally. Adelaide-born soprano Kate Ladner is more than equal to it. She can act, she uses her delicate dark beauty to great effect, and her singing is a miracle of perfectly controlled light and shade. Her voice is diamond-bright in the early stages of the story but as love and consumption make her weaker and weaker, its tone takes on a fragile sweetness that she has clearly been holding in reserve for this moment.”
Leader Messenger
“But it is Kate Ladner, as the fading Violetta, who captures the essence of the story and entraps the audience’s soul with a performance that indeed makes her a fallen angel. However, she is a fallen angel with a past, and a dirty reputation. Her soaring soprano voice seduces and demands sympathy. No matter how far Violetta sinks, she puts her love for Alfredo above all. This is a devastating performance of untouched quality that will launch her as a true superstar of opera in this country.”
Sunday Mail
Freia: Das Rheingold / State Opera of South Australia / Melba SACD
“...suitably fresh voiced and vulnerable.”
BBC Music Magazine
“...Kate Ladner, who characterises well the anguish when facing the prospect of being taken hostage by the giants.”
Music Web International
“Freia (Kate Ladner), is however, a strong vocalist and makes the most of her time onstage, as any singer does with smaller roles. She is sympathetic and has a beautiful voice.”
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