“But some of the performers are given a little brighter spotlight... Venable’s score is at its most patient showcasing the vocal beauty of … Katherine Goforth.”

— Joshua Barone, The New York Times

“In a year where fresh young voices have been somewhat lacking in the big festival productions, it was good to hear … the thrilling tenor power of Katherine Goforth.”

— Stephen J. Mudge, Opera News

“The trans woman Katherine Goforth seems shy in the first half, but unpacks herself in the second half: literally in a bare bodysuit, figuratively in a banging furious [tenor]. It's a moving thought that not even the biggest homophobe or queerphobe could argue that these people were singled out solely for their queer identity. They are musical mega-talents.”

— Rahul Gandolahage, NRC

“Transgender artist Katherine Goforth's powerful [tenor] outstandingly rounds off the ensemble.”

Andreas Marte, VOL.at

“Katherine Goforth brings her full-bodied, sharp and powerful [tenor] in a rare lyrical appearance, the keystone of the whole ensemble.”

— Florence Lethurgez, Olyrix

We note the very strong presence of the two transgender performers, Kit Green and Katherine Goforth… the second playing on the ambiguity of her vocal timbre to impose a leading performance.

— David Verdier, Altamusica

“Katherine Goforth proclaimed her lines with a heroic style that was absolutely convincing.”

— James Bash, Northwest Reverb

“Directed by Katherine Goforth, the opera superbly conveyed a snippet of the woman who was absolutely crucial to the success of the Lewis and Clark Expedition.”

— James Bash, Oregon ArtsWatch

“stunningly charming”

— Die Deutsche Buehne

“Impressive are the vocal performances, especially ... the beautifully managed young tenor of the American Goforth”

— Kölnische Rundschau

“Goforth is the womanizing Count, whose tenor shines in the Gallery aria but whose piano passages reveal lyric qualities as well.”

— Der General-Anzeiger Bonn

“Goforth, with [her] virile voice, does not hold back.”

— Anthony Tommasini, The New York Times

“Goforth embodies the Count Bandiera with a noble, colorful and iridescent vocal sound and sings a demonstration of his conquests in pajamas and dressing gown reminiscent of Leporello's Catalogue aria.”

— Magazin Klassik



“rose to the highest form”

— Schönen Stimmen

“Goforth sings with a distinctive baritone tenor of high timbre… Even though the strong ensemble cast is made up of fresh young singers, they all please the audience in their own way, and one can already hear which Mozart roles will fit their voices. Everyone is very present in their singing and their acting... I have not seen such a well-rounded performance of an opera that I enjoyed so much in a long time.”

— Der Opernfreund

“The tone was established from the opera’s very first sung word... delivered by tenor Goforth with startling force, as if to command us to attend to the proceedings… a brilliantly declaimed performance.”

— Opera News