Vocalist - Mezzo-Soprano
Acclaim
 
An American Figaro in San Francisco — and it works

"Mezzo Catherine Cook’s Marcellina was a keeper, with elegant singing that made the character more than the elderly clown we often see."

Harvey Steiman, Seen and Heard International
LE NOZZE DI FIGARO - San Francisco Opera

"Marcellina played by Catherine Cook with aplomb was an excellent foil whether as possible sweetheart to Figaro or as his mother..."

Lois Silverstein, Opera Wire
LE NOZZE DI FIGARO - San Francisco Opera

"In the role of Marcellina, veteran mezzo-soprano Catherine Cook reenacted a role she has sung marvellously many times on our local stage."

James Roy MacBean, Berkeley Daily Planet
Figaro in Post-Revolutionary America

"Redoubtable SFO veteran mezzo-soprano Catherine Cook owns the part of old biddy Marcellina. Her quick turn from wannabe bride to doting mother is always hilarious... Cook still manages to rivet attention and provide some solid laughs."

Philip Campbell, Bay Area Reporter
An American ‘Figaro,’ done with beauty and verve at SF Opera

"The antagonists... were superbly embodied by Catherine Cook as Marcellina (her signature role, and one that gets better with each outing)..."

Joshua Kosman, San Francisco Chronicle
THE THREEPENNY OPERA - West Edge Opera

"Catherine Cook’s grasping Mrs. Peachum took top honors, her scheming comic asides timed to perfection and her well-projected mezzo-soprano registering with authority in every scene."

Georgia Rowe, Opera News
THE THREEPENNY OPERA - West Edge Opera

"Character actor/singer mezzo-soprano Catherine Cook gave another scene-stealing performance as Mrs. Peachum."

Philip Campbell, Bay Area Reporter
THE THREEPENNY OPERA - West Edge Opera

"But the heroic star of the proceedings... was the magnificent mezzo-soprano Catherine Cook as Mrs. Peachum. Cook showed how to give Weill’s music its full due without sacrificing any of the script’s satiric bite, especially in an account of 'Ballad of Sexual Dependency' with a winning blend of swagger and tonal richness. Her comic pacing was impeccable... she delivered every line and every take with crisp exactitude. There’s nothing she can’t transform into pure delight."

Joshua Kosman, San Francisco Chronicle
THE THREEPENNY OPERA - West Edge Opera

"But the legendary and powerful Catherine Cook as Mrs. Peachum... also deserve(s) special mention."

Victor Cordell, For All Events
Boris Godunov - San Francisco Symphony

"His Innkeeper was SFS and San Francisco Opera veteran mezzo-soprano Catherine Cook. She can't help upstaging everyone with her perfect timing and personality."

Philip Campbell, Bay Area Reporter
This Boris doesn't need fixing

"...on Friday night, both Catherine Cook, as the accommodating innkeeper, and Jennifer Zetlan, as the mourning daughter, had strong presences."

Rebecca Wishnia, San Francisco Classical Voice
After Life - Music of Remembrance

"Mezzo soprano Catherine Cook is a formidable artist in every respect, and she vividly embodies Stein’s larger than life persona. It is especially impressive how she conveys Stein’s overpowering grandeur and arrogance in a way that also reveals the very real insecurity and fragility just beneath the surface. Hers is a gleaming voice with thrilling thrust, but she also manages the moments of gentler lyricism and grace with assurance and aplomb."

Gregory Berg, Journal of Singing
Very verismo

"As the old Contessa di Coigny, woefully ignorant of the suffering around her, SFO favorite Catherine Cook won another huge audience response at the final curtain."

Philip Campbell, Bay Area Reporter
Andrea Chénier - San Francisco Opera

"It was the secondary characters who shone most. Mezzo-soprano Catherine Cook was simply delicious as Contessa di Coigny.... Although Cook was never onstage at the same time as Joel Sorensen’s remarkable L’Incroyable, she figuratively met her match in a portrayal so well sung and unctuous as to tempt you to procure a spy as your pet dog."

Jason Victor Serinus, San Francisco Classical Voice
Andrea Chénier - San Francisco Opera

"In the role of Maddalena’s mother, the Comtessa di Coigny, veteran mezzo-soprano Catherine Cook was excellent as always."

James Roy MacBean, Berkeley Daily Planet
'Sweeney Todd' collects powerful moments at Mill City Opera

"Vocally the show had plenty of highlights, not least mezzo Catherine Cook's contributions as Mrs. Lovett. She brought technical control and a lick of sensuality to 'Wait,' a tricky song to float effectively, and relished the ­climactic 'A Little Priest,' where the show's macabre mix of slapstick comedy and foul intent is at its most unsettling."

Terry Blain, Minneapolis Star Tribune
Dark tale of ‘Sweeney Todd’ fits deftly in ruins of mill

"There are no real heroes in this dark saga, but Robert Orth and Catherine Cook manage to make the throat-slashing barber and his baking accomplice a fascinating pair. They turn up the contrast in these enterprising partners, Cook displaying fine comedic skills and an exceptional voice as a dotty, endearing Mrs. Lovett while Orth balances Todd’s fury with the charm required of a budding businessman."

Rob Hubbard, St. Paul Pioneer Press
After Life - Music of Remembrance

"Mezzo Catherine Cook makes for a formidable, colorful Stein with an outsized ego but humane core. She sounds luscious on long phrases ..." 

Joshua Rosenblum, Opera News
Triumph of Memory

"... the Bay Area's beloved Catherine Cook (Zosha) ... plays Krysia's friend in Auschwitz with the same greatness that she brings to character roles."

Jason Victor Serinus, Bay Area Reporter
BWW Review: UrbanArias' Pleasing AFTER LIFE / JOSEPHINE

“Mezzo-soprano Catherine Cook is full and rich and ringing voice, much like one would hope to hear in the afterlife.”

Roger Catlin, Broadway World
After Life and Josephine from UrbanArias

"Catherine Cook as Gertrude enters cautiously, then sings about her life choices and the importance of love with beautifully supported mezzo soprano tones."

Debbie Minter Jackson, DC Theatre Scene
‘After Life’ | ‘Josephine’ by UrbanArias

“As Gertrude Stein, mezzo-soprano Catherine Cook … is commanding, her voice powerful and richly resonant, negotiating the octave-plus leaps and unconventional intervals with effortless élan.”

Leslie Weisman, DC Metro Theater Arts
Groovy Figaro

“Catherine Cook, a strong mezzo, is very funny as the dowdy Marcellina. Her transformation from a giggly bride-to-be to a nurturing mother is hysterically instantaneous.”

Gregory Sullivan Isaacs, Theater Jones
A Spirited 'Marriage of Figaro' at San Francisco Opera

“In this opera’s secondary roles, veteran mezzo-soprano Catherine Cook was a superb Marcellina.”

James Roy MacBean, Berkeley Daily Planet
Another pass at a Mozartean classic

“Mezzo-soprano Catherine Cook as the old biddy Marcellina ... gets close to the biggest laugh of the night when her character, who has been pursuing Figaro as a potential mate, finds she is actually his long-lost mother. The expression on her face and quick-change in attitude is downright hilarious, and she accomplishes it without a trace of vulgarity.”

Philip Campbell, Bay Area Reporter
‘The Marriage of Figaro’ at San Francisco Opera

“Three performances stand out for comic excellence … best of all, though, is Catherine Cook’s hilarious Marcellina (a role in which she is justly celebrated). Her every movement, even a subtle nod of the head, is an occasion for laughter.”

Charles Kruger, Theatre Storm
Copley’s imaginative staging of Mozart continues to delight at SFO

“On the secondary side the coupling of John Del Carlo’s Bartolo with Catherine Cook’s Marcellina cannot go unmentioned. Both of them had a solid command of Pierre Beaumarchais’ comic skills as transformed into opera by both Mozart and Rossini. This was most apparent during the revelations in the third act, but they were always on top of their character types throughout all four acts of the opera.”

Stephen Smoliar, San Francisco Classical Examiner
The Marriage of Figaro - San Francisco Opera

“Catherine Cook — San Francisco Opera’s go-to artist[s] in the role[s] of … Marcellina — once again demonstrated [her] mastery.”

Georgia Rowe, Opera News
Opera needs a mezzo? Catherine Cook is the go-to

"For nearly a quarter of a century, the versatile and dramatically forceful mezzo-soprano has been the San Francisco Opera’s go-to choice for a wide range of character roles.... Total S.F. Opera performances to date: 321, and counting. It’s the career she always hoped for."

Joshua Kosman, San Francisco Chronicle
Music of Remembrance’s After Life: Stein and Picasso duel over art and morality

“Cook brilliantly portrays a dowdy, self-involved and insistent writer/cutting-edge public figure [Stein]. ‘Genius: Did somebody say my name?’ Stein sings at the beginning of the piece. And later, ‘Have they learned to read me?’ She thrusts a copy of Time magazine, her face on its cover, into Picasso’s face.”

Angela Allen, Oregon ArtsWatch
Total: 69 (Viewing: 1–30)