Reviews

Brigitta in Die Tote Stadt at the Royal Opera Covent Garden

“The best singing came from British mezzo Kathleen Wilkinson as Brigitta. Firm of tone, well modulated, gracefully phrased and with good diction”.
Michael Kennedy – Opera Magazine (February 2010)

“There is a fine performance by Kathleen Wilkinson as Brigitta, Paul’s loyal housekeeper. Hers is a firm and powerful voice from a singer, who despite the brevity of the role, leaves a lasting impression”.
Paul Callan – The Daily Express (February 2010)


Mother Goose in The Rake’s Progress at the Royal Opera Covent Garden

“Kathleen Wilkinson made Mother Goose a perfect study in raddled voluptuousness.”
George Hall – Opera News (June 2009)

“Kathleen Wilkinson’s strongly sung and characterised Mother Goose appeared well capable of running a brothel.”
The Stage (June 2009)


The Cleaning Lady in The Makropulous Case at ENO

“The Cleaning Lady was sumptuously sung by Kathleen Wilkinson”
Hugh Canning – The Sunday Times (June 2006)


Mistress Quickly in Falstaff at Glyndebourne

“Its assets are several: notably, Kathleen Wilkinson’s lovable battleaxe turn as Mistress Quickly”
Barry Milington – The Evening Standard (October 2009)


La Damma in Macbeth at Lyon

“……….. the Lady (Kathleen Wilkinson), whose voice “floats over the ensembles without difficulty” [Translated]….
Le Monde (November 2012)


Filipyevna in Eugene Onegin at the ROH

“Musically the evening has many fine qualities …. with fine cameos from Diana Montague’s Larina and Kathleen Wilkinson’s richly sung Nurse”
Richard Morrison – The Times (Feb 2013)


Ursule in Bèatrice et Bènèdict – Concert Version at the Usher Hall

“Sally Matthews and Kathleen Wilkinson stole the show with the breathtakingly beautiful ”Vous soupirez Madame?”. Their blended voices etched against the shadowy tapestry of the sound that Ticciatti conjured. Just exquisite”
David Kettle – The Scotsman (January 2014)

“Kathleen Wilkinson’s Ursule was a lovely thing”
Sarah Urwin Jones – The Times (January 2014)


Ines de Castro Scottish Opera

“Kathleen Wilkinson reprised her original role magnificently, helping both Inés and later the King to shed their worldly outer garments before passing on.”
David Smythe – Bachtrack (January 2015)

“Kathleen Wilkinson excelled in the role of the nurse / old woman”
Andrew Clark – Opera Magazine (March 2015).


Elgar: Sea Pictures at the RNCM



“…guest soloist Kathleen Wilkinson captured Elgar’s “Sea Pictures” in evocative sound and fury.  ….to the serene “Where Corals Lie”, the audience was taken on a cruise across oceans of words and music depicting our love of all things nautical.”
Manchester Evening News (April 2015)


Eugene Onegin at Garsington

“So why catch this show? For….., and a Filipyevna, (Kathleen Wilkinson), whose contralto timbre is pure old Russia.”
Michael Church – The Independent (June 2016)


The Rake’s Progress – Caen

“Parmi les solistes, les méchants l’emportent haut la main. Kathleen Wilkinson prête à Mother Goose une voix sonore et une silhouette haute en couleur.”

“Among the soloists, the bad guys carry it with all hands. Kathleen Wilkinson brings to Mother Goose a sonorous voice and a colorful caricature”
Laurent Bury – Forum opera /Le Magazine du Monde Lyrique (December 2016)


Albert Herring – The Grange Festival

“Kathleen Wilkinson was ideally cast as Albert’s mother.  Bossy, then emotionally drained and finally shocked to the marrow at her son’s defiance.”
Hugh Canning – The Opera Magazine (July 2017)


Marnie – ENO

“Du reste de la distribution, la mère de Marnie tenue par Kathleen Wilkinson se démarque par un chant noir et autoritaire, superbe dans la lecture de la lettre précitée.”
“Of the rest of the cast, Kathleen Wilkinson’s mother of Marnie stands out, dark-voiced and authoritive, superb in reading the above-mentioned letter.”
Vincent Guillemin – Resmusica (November 2017)