"Katherine Pracht, as Ariel, pours forth rich, enveloping sound with well-articulated diction, using her vibrato to add expression and emotion. Her Full Fathom Five in Summer's haunting setting its the highlight of the piece."
"Mezzo soprano Katherine Pracht’s rich, well-mannered voice was a pleasure to hear declaiming the Spanish texts by the Nobel Prize-winning poet."
The incisive Katherine Pracht, styled in pants and top hat, made a fascinating study of Flora Bervoix."
"...I’ve mentioned how merry Pracht looks in Flora’s costumes. I should add Pracht is a wonderful actress who, like Oropesa, moves naturally and seems to be living Flora’s existence, as opposed to just acting it. Flora is the hostess with the mostess, and Pracht plays that part of her character to the hilt while also being able to have quiet tete-a-tetes with Violetta that indicate a genuine friendship. In keeping with Curran’s production, Pracht is also an excellent singer..."
"Mezzo-soprano Katherine Pracht created a mesmerizing Sharon Falconer, believably balancing the character's religious conviction and human frailties while singing with a rich, focused sound."
"The vocalists all did creditable work; most notable among them were Katherine Pracht and David Salsbery Fry, who invested Arial and Caliban with appropriately airy and earthy personalities..." ThirdCoast Digest review of Susannah with Florentine OperaTom Strini"Mezzo Katherine Pracht played Susannah’s chief tormentor as a vicious little church lady. She had to pop out of the crowd, and she did, with her big voice and an energized presence that made her petite form formidable."Express Milwaukee.com review of The Rivals (Kirke Mechem), Skylight Opera TheatreRick Walters"Katherine Pracht, as the earnest Julia, sings with both subtlety and refreshing forthrightness."
"Mezzo Katherine Pracht played Susannah’s chief tormentor as a vicious little church lady. She had to pop out of the crowd, and she did, with her big voice and an energized presence that made her petite form formidable."
"Katherine Pracht, as the earnest Julia, sings with both subtlety and refreshing forthrightness."
"Berneche and Pracht also play close cousins, and the way they lounge about together makes it easy to imagine them as little girls tumbling down together for their naps. They were sweet, funny, and in superb voice throughout the opera."
"Katherine Pracht wielded a mezzo of extraordinary range and colour, and was a fearsome vision as the rabid, warmongering Drummer Girl with Bride of Frankenstein hair and grotesquely elongated, skeletal arms."
"And Katherine Pracht — oh my. Her voice has developed into an instrument of extraordinary beauty and boundless agility. What a great pleasure to hear pitches and rhythms fall exactly into place within a warm, expressive flexibility, and to hear a voice so smooth and seamless and full throughout its range. I love the way the music informs her acting. The role has no dancing per se, but Pracht makes little dances of each aria and recitative. She phrases common gestures, facial expression and practical movement in ways that both explain the moment and complement the music. Her baseline movement is soft and pliant and completely charming. When Rosina goes to war with Bartolo, Pracht’s little body turns hard and pointed as a crossbow bolt, and the contrast is very funny."
"Katherine Pracht delivers a delightful Rosina, singing the role masterfully. She creates a dimensional character, often speaking volumes with mere facial expressions."
“Katherine Pracht, with her glorious, fluid voice and overt facial expressions, captures this struggling character beautifully.”
“As Rosina, mezzo-soprano Katherine Pracht was lovely and made this ingénue-with-a-hint-of-vixen part interesting. She is an engaging singer with a good voice”
“The only holdover from last year’s opera, Katherine Pracht, made the move from Monteverdi’s flighty Melanto to Ullmann’s scarifying Trommler. Given an Expressionist bipartite wig and Joker-like grimace by Bridget Ritzinger (who had most of the cast in clown white that still allowed for much expressiveness), Pracht reveled in the most striking of Paul Carey’s fine, apt costumes – army jacket over flared skirt, with terrifying extended plastic arms. She loped about exhorting men to battle like a nightmare Preziosilla; Verdi’s vivandière might well suit Pracht’s penetrating voice, comfortable at wide range extremes.”
"Katherine Pracht, singing the difficult role of the Drummer with force and clarity, was perhaps the most fascinating character in the show. This figure, described by the composer as “not quite real, but like a radio”, was embodied here as a grotesque amalgamation of soldier, whore, and puppet. "
“Katherine Pracht has one of those beautiful soaring mezzo-soprano voices that is rich with a subtle tremolo — and sends you catapulting out of your seat. She is beautiful as Queen Guenevere, and her acting is nuanced and very touching in her relationships with both Arthur and Lancelot. Her facial expressions are tied to her every emotion, so that in the silence of a closing scene, they light up the stage.”
"Of the many transcendent aspects of Act 2, non is more crucial than Katherine Pracht. She has never been more radiant in her presence or in her singing than she is as the Midnight Angel."
"Constance was sung by mezzo-soprano Katherine Pracht...Hers is a warm sound, a rich healthy voice musically employed."
"Katherine Pracht sang with handsome tone"Berkshire Eagle review of Mozart at the Opera with Albany SymphonyAndrew L. Pincus“All came through with youthful ardor, but mezzo-soprano Katherine Pracht offered more: the promise of a star. Whether as an impetuous Cherubino, seductive Dorabella or wounded Donna Elvira, she wielded her luminous voice as an instrument of communicative and dramatic power.”
“Katherine Pracht opened with a bang in the solo “Non so piu.” She showed a big voice, excellent diction, easy top notes, strong projection and was a delight in her acting.
“Pracht is impressive in her singing and acting. She seemed naturally attuned to each character she portrayed, from the teenage boy Cherubino to the conflicted Dorabella in “Cosi.” It was in the latter’s aria that she demonstrated how to express passionate emotion without breaking the music’s line and while always maintaining a beautiful tone.”
“The adaptation holds together quite well, thanks in large part to the work of Katherine Pracht as Hansel and Elizabeth Sutton as Gretel. The two are completely convincing in their portrayal of young siblings - so much so that it's difficult at times to remember that they're adults. They are also wonderfully suited to the vocal demands of the roles they sing. Pracht's strong, even, mezzo sound is an exceptional match to Sutton's timbre. She is also a great match to Sutton's technical strengths and musical instincts. The famous "Angel's Prayer" duet is beautifully sung by the pair.
“Katherine Pracht’s full inhabitation of the boy Hansel is a rich display of vocal and theatrical talents.”
“Katherine Pracht and Elizabeth Sutton as Hansel and Gretel respectively have mastered all the childish antics of siblings. Until you hear their powerful voices, you would think they were really children. Pracht’s mellow mezzo soprano blends beautifully with Sutton’s dulcet lyric tones.”
“Pracht's voice and Hackett's viola twined round one another in warm, dark tones that matched the nostalgia of the songs. If their sound could have been photographed, it would have printed in sepia tones.”
“Her rich, emotionally shaded, rhythmically supple voice and her conviction as an actress, commanded a difficult, crucial role.”
“Mezzo-soprano, Katherine Pracht treated the audience to an emotionally rich portrayal of Jo, the leading lady. She has a flexible voice with a technique that held up throughout this long tiring role, and she proved to be a convincing actress who commanded the attention of all.”
“Amparo, Almaviva’s mistress, would have been so easy to caricature, but Katherine Pracht drew in the canny calculation behind her flirtation and the buried vulnerability beneath that. The singing was excellent top to bottom.”
“Katherine Pracht was a warm, colorful figure as Almaviva’s mistress, Amparo”