REVIEWS

“The four soloists Katharine Fuge (soprano), Renata Pokupic (mezzo soprano), Andrew Kennedy (tenor), and Matthew Brook (bass baritone), all captured the drama and pathos so integral to this music and the Benedictus was extraordinarily moving, each part clear and precise, yet moving together with graceful elegance.”
Mozart: Requiem / City of London Sinfonia / This Is Bath

“All five solo singers were top-flight: Katharine Fuge, Renata Pokupic, Sara Mingardo, Mark Padmore and Dietrich Henschel.”
B Minor Mass / BBC Proms / New York Times

“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

"The other cantatas on this recording come off comparably well with notably fine singing by Katharine Fuge in her chromatically inclined aria and infectious, gigue-like duet (BWV 186) and in BWV 187."
J. S. Bach: Cantatas Vol. 4 / SDG / BBC Music Magazine

“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 soprano, who is well in Luxemburg, displayed a crystalline timbre radiantly projected and an irreistible delight in the sheer act of singing/”
J. S. Bach: Cantatas / Le Concert Lorrain / Luxemburger Wort

“The Evangelist, an ardent Nicholas Mulroy, narrates the Gospel story, with elaborating, contrasting solo arias, eloquently sung by Katharine Fuge, Clare Wilkinson and Matthew Brook.”
Christmas Oratorio / English Baroque Soloists / The Guardian

“The narrative core of the Cantata was framed by its emotional heart: first soprano Katharine Fuge and bass Matthew Brook, footing it featly in a triple-time dance-song of redemption…”
Christmas Oratorio / English Baroque Soloists / The Times

“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

“It is very seldom that one has the opportunity to hear such a beautiful performance of the aria “Aus Liebe” as we did last Wednesday in De tamboer in Hoogeveen.  Soprano Katharine Fuge went straight to the heart with her fabulous voice in this fragile piece.” 
St Matthew Passion / North Netherlands Orchestra / Dagblat van den Noorden

"The limpid purity of Katharine Fuge’s soprano looked back to Baroque antecedents, while Dietrich Henschel’s lieder expertise facilitated communicative intensity.”
Brahms: Requiem / Royal Festival Hall / Evening Standard

“Both soloists were impressive: Katherine Fuge floating a beautifully pure soprano line through the fifth movement, "Ihr  habt nun Traurigkeit", and Dietrich Henschel urgently eloquent in his two numbers.”
Brahms: Requiem / Royal Festival Hall / The Independent

"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