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“The attractive, young cast were dramatically apt and created cohesive tonal blend during the work’s many ensembles. As Fiordiligi, soprano KARIN WOLVERTON displayed a pliant voice with a silvery top and mustered steely determination during “Per pietà, ben mio, perdona.” The aria ended with Wolverton in near fetal position on the stage floor.” -Opera News

'Karin Wolverton is that rare thing, a believable Musetta, integrating the calculated coquetry of the operetta-like Act 2 with the compassion of the pathos-filled Act 4.'                                              
                                                                                                                                                                   ~ Larry Fuchsberg,  Star Tribune

  'Wolverton brought just the right sense of color and drama to Poulenc's curious and interesting score, balancing very well with the orchestra and chorus.'                                                                                                                                   ~ Brian Jones, The Boston Music Intelligencer


“As Maria's sister, Inez, soprano Karin Wolverton showed that she, too, has an affinity for early 19th-century music and the flexibility to sing it well. She excelled in the above mentioned duet with Maria.”

“Karin Wolverton brought a crystalline, agile soprano to Ines, the seconda donna role.” 

-Gay City News, David Shengold

“This duet, a popular concert piece in the nineteenth century, is evocative and the singing by Wolverton and Harris is both supple and sure.”
-Aisle Say Twin Cities, Michael J. Opperman

Des Moines Metro Opera - Les Contes d’ Hoffmann 

“Karin Wolverton sang a radiant Antonia, the portrait trio a highlight of the evening...”

-Opera News

“Soprano Karin Wolverton's Antonia, whose character's illness is made worse by her singing, was some of the best singing of the evening.”
-Des Moines Register

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