REVIEWS

“But Katharine Fuge’s reading of the almost peerless soprano solo,  “Wie zittern” is remarkable for its empathy of sentiment and superb control, cloaked by the trembling continuo-less stings and hovering oboe. This is the highlight of an accomplished performance.”
J.S. Bach: Cantata 105 / DG Archiv CD / Gramophone

“Katharine Fuge has a rare feeling for text, and combines perfect articulation with a distinctive timbre and easy, pure, resonant high notes.”
J. S. Bach: Cantatas / Ricercar Consort / La Libre Belgique

"The performance of soprano Katharine Fuge was sheer joy. Her purity of tone never lapsing into dry declamation, she revelled in Handel’s vocal writing in a genuinely jubilant “Rejoice Greatly” and conveyed profound religious trust in “I know that my Redeemer.”
Messiah / Musica Florea Prague / Mittelbayerische Zeitung

“Outstanding among the soloists was Katharine Fuge, whose beautiful voice came into its own magnificently both in the arias and the recitatives.”
Die Schöpfung / Bachchor Mainz / Frankfurter Neue Presse

“The soprano Katharine Fuge and the Edinburgh Festival Chorus were outstanding...”
Die Schöpfung / Scottish Chamber Orchestra / The Financial Times

"...the Mozartian side of the music - and The Creation is as much a tribute to The Magic Flute as to Handel's Messiah - was never in danger, especially with a soprano as sweetly and warblingly Mozartian as Katharine Fuge."
Die Schöpfung / Scottish Chamber Orchestra / The Herald

“...Katherine Fuge's Mozartian soprano soared with clarity and honey over Haydn's wonderful orchestration.”
Die Schöpfung / Scottish Chamber Orchestra / Scotland on Sunday

"Auf starkem Fittiche ("On mighty pinions rising"), for instance, sung beautifully by Fuge, who soared to the high notes with ease..."
Die Schöpfung / Scottish Chamber Orchestra / The Scotsman

"The soprano, Katharine Fuge, sang sweetly.”
Die Schöpfung / Scottish Chamber Orchestra / The Sunday Times

“...a lovely, totally unshowy “Et incarnatus est.”
Mozart: Mass in C Minor / English Baroque Soloists / Financial Times

“In “Et incarnatus est” Fuge explored all corners of Mozart’s florid, aria-like passages, airily crisscrossing lines with the accompanying oboe, flute and bassoon. The effect was amazingly delicate, and the contrast between Fuge’s pure tones and the pungency of the period wind instruments made for a zesty mix of sounds: French cream sauce and sour cream.”
Mozart: Mass in C Minor / English Baroque Soloists / San Francisco Mercury News

“Katharine Fuge’s “Domine Deus, Rex coelestis” is outstanding for its expressive sensibility.”
Vivaldi: Gloria / Philips Classics / BBC Music Magazine