Kathleen Clawson, American Mezzo-Soprano   Kathleen Clawson :
Recent Review Quotes
Kathleen Clawson, American Mezzo-Soprano   As Soloist in Verdi's Requiem with the Santa Fe Symphony c. Steven Smith:
“All four soloists in this production are outstanding veterans from previous Santa Fe Opera casts. Clawson, whom we have been privileged to hear in several different venues throughout the current season, lent to the piece her clear oboelike individuality, which, while blending elegantly with the soprano, created a rather unusual and intriguing timbre."
- D. S. Crafts, Albuquerque Journal - April 27, 2004
Kathleen Clawson, American Mezzo-Soprano   As Soloist in Mendelssohn's Elijah with the Calvin Oratorio Society c. Joel Navarro:
“'Elijah' is stunning display of voices [Headline] Clawson became almost vicious in the role of the haughty Queen Jezebel as, in rich warm tones, she ordered Elijah to be slaughtered. Her voice grew gentle again during an especially lovely arioso in the first half that served as a peaceful respite after the provious chaos when Elijah challenged the priests of Baal.”
- Jennifer Lund, The Grand Rapids Press - April 19, 2004
  As Soloist in Hindemith's When Lilacs Last in the Dooryad Bloom'd with the New Mexico Symphony Orchestra
c. Guillermo Figueroa:
“The part of the mezzo is given primarily to the imagery of the 'gray-brown bird' who sings plaintively of love and death. Clawson gave a moving performance that brought forth the melancholy foundation underlying the entire work.”
- D. S. Crafts, The Sunday (Albuquerque) Journal - March 22, 2004
  As Soloist in Berlioz’ La Damnation de Faust with the New Mexico Symphony Orchestra
c. Guillermo Figueroa:
“Luminous of spirit and voice, Clawson created a deeply affecting portrait of Marguerite, forging a perfect balance between stage and concert.”
- Joanne Sheehy Hoover, Albuquerque Journal - March 25, 2003
  As Soloist in Berlioz’ La Damnation de Faust with the New Mexico Symphony Orchestra c.Guillermo Figueroa:
“Clawson’s Marguerite was a pool of quiet focus. When she sang, she was in character; when she listened to her fellow singers, she kept that concentration; and when she sat quietly, she maintained the mood. Clawson was in excellent vocal form in the part’s middle and lower reaches, which suited her rich mezzo. High passages were brilliant. Autrefois un roi de Thulé held attention by its repose, while the piteous D’amour l’ardente flamme fully expressed Marguerite’s sorrow at Faust’s desertion.”
- Craig Smith, The New Mexican - March 25, 2003
  As Soloist in Berlioz’ Roméo et Juliette with the Midland Symphony c. Carlton Woods:
“There were the awesome voices of the three soloists, rich, encompassing and expressive. One could enjoy their tones regardless what words were being sung. Clawson particularly had a rich vibrato emanating from a completely freely produced tone, and also struck a fine balance between beautiful sound and musical line.”
- Eric Nisula, The Daily News - February 10, 2003
  As Madame Larina in Eugene Onegin with the Santa Fe Opera c. Alan Gilbert d. Jonathan Miller:
“The best performances came in the secondary roles: Clawson as the knowing materfamilias...”
- Scott Cantrell, Dallas Morning News - August 1, 2002
  As Soloist de Falla's El Amor Brujo with Syracuse Symphony c. Kazuyoshi Akiyama:
"I was thoroughly impressed by her voice...a thoroughly enjoyable evening."
- John Johnson, The Post-Standard - November 17, 2001
  As soloist in Verdi's Requiem with the Grand Rapids Symphony c. David Lockington:
"Clawson distinguished herself with the Lux Aeterna, singing well up into soprano territory while captivating the audience. Four accomplished singers were on hand and earned a standing ovation for the performance that captured both the drama and beauty of Verdi's Requiem."
- Jeffrey Kaczmarczyk. The Grand Rapids Press - November 3, 2001
  As Soloist in Verdi's Requiem with the Midland Symphony c. Carlton R. Woods:
"An extraordinary performance. The four vocal soloists added more highlights to the concert. For most of the evening, Clawson's mezzo garnered top prize for her warm and resonant solos as she soared with golden, radiant tones and transcendent lyrical vision. It was a stellar evening."
- Grover B. Proctor Jr.. The Saginaw News - Apr1 l9, 2001

"The soloists, all experienced singers, sang their parts with authority and expressivity."
- Jane Girdham. Midland (MI) Dally News - Apr1 l9, 2001

  As Soloist in Copland's Old American Songs and Brahms' Alto Rhapsody with the San Juan Symphony c. Bernard Rubenstein:
"Clawson brought her extraordinary voice fIrst to Copland and later to Brahms. 'Simple Gifts,' and three other works demonstrated that Clawson is as much at home with rectial works as with grand opera. Clawson effortlessly spun out Brahms' long lines filled with impossible intervals, high pianissimos, and two devilishly-low entrances."
- Judith Reynolds. The Durango (CO) Herald - February 26, 2001
  As Soloist in Alexander Nevsky with the New Mexico Symphony Orchestra c. David Wiley:
"With dark velvet tones and expressive inflection, Clawson made a passionate soloist in the lament for the dead."
- Joanne Sheehy Hoover. The (Albuquerque) Sunday Journal - December 17. 2000
  As Soloist in Messiah with the Calvin Oratorio Society c. Pearl Shangkuan:
"The soloists hung ornaments on their arias like they were decorating a Christmas tree, adding grace notes, trills and ad libs that lent a new dimension to many of the arias. Clawson tackled the tough aria 'But Who May Abide the Day of His Coming'?' with grace and good musicianship. Clawson has some nice contralto notes in her voice. An expressive singer, she radiated wannth with '0 Thou That Tellest' and sorrow with 'He Was Despised.'"
- Jeffrey Kaczmarczyk. The Grand Rapids Press - December 8, 2000
  As Soloist in Gala Concert to Honor Music Director David Lockington with the New Mexico Symphony Orchestra
“The second half of the program turned more mellifluous, opening with the amber tones of Clawson in Brahms songs. A welcome opportunity to hear this talented singer in more intimate material, they were a testament to her ever-increasing expansiveness both vocally and expressively.”
- Joanne Sheehy Hoover, Albuquerque Journal - December 13, 1999

  As Soloist in Beethoven’s Missa Solemnis with the New Mexico Symphony Orchestra c. Roger Melone
“A strong quartet of soloists brought notable vigor and power to their parts. Especially effective were Clawson’s expressive use of her velvet mezzo...”
- Joanne Sheehy Hoover, The (Albuquerque) Sunday Journal - October 17, 1999
  As Soloist in Beethoven’s Symphony No. 9 with the Santa Fe Symphony c. Steven Smith
“Clawson was the most self-assured of the quartet. For players, soloists, chorus and audience, it was a veritable love feast.”
- Craig Smith, The New Mexican - October 12, 1999
  As Mother Jeanne in Les Dialogues des Carmelites with the Santa Fe Opera c. Stéphane Denève d. Francesca Zambello
“Clawson’s calm authority and rich alto made Mother Jeanne notable.”
- Craig Smith, The New Mexican - August 2, 1999
  As Soloist in Mahler’s Symphony No. 2 with the Midland Symphony c. Carlton Woods
“...’Urlicht,’ when Clawson stepped up and delivered a stunningly beautiful reading of this quiet, emotional song. She brought to the quiet contemplative lines the phrasing and lyrical melodic reading that this entire work aches for. Her voice was warm and compelling, and her obvious feeling for the prayer-like text moved everyone.”
- Grover B. Proctor, Jr., The Saginaw News - April 12, 1999
  As Soloist in Verdi’s Requiem with the New Mexico Symphony Orchestra c. David Lockington
“Clawson was in top form. Her resonant vocal tone and expansive style made Verdi’s lines glow. By the time she reached her final solo, her voice had become a radiant flow. The team of soloists turned in a performance of consistent musicality.”
- Joanne Sheehy Hoover, Albuquerque Journal - April 30, 1997
  As Rosa in Offenbach’s Christopher Columbus with the New England Lyric Operetta c. Neal Goren
“The three jilted brides of Columbus were charming and quite funny. Clawson dug into the deeper notes for good laughs. The trio was the centerpiece of the show.”
- Jerome R. Sehulster, The Advocate (Stamford, CT) - April 13, 1997
  As Augusta Tabor in The Ballad of Baby Doe with the New Mexico SymphonyOrchestra c. David Lockington
“Clawson generated a forceful presence. With her richly colored voice and vivid dramatic sense, Clawson captured Augusta’s enduring strength as well as the anguish of her position.”
- Joanne Sheehy Hoover, Albuquerque Journal - January 19, 1997
  As Soloist in Mahler’s Symphony No. 2 with the New Mexico SymphonyOrchestra c. David Lockington
“The fourth movement is introduced by the mezzo soprano alone. With her richly colored voice and emotional conviction Clawson made it one of the evening’s most thrilling moments. Singing directly to the audience, without score, she went on to convey the movement’s profound declaration of faith in a manner both deeply moving and totally convincing.”
- Joanne Sheehy Hoover, Albuquerque Journal - April 22, 1996
  As Prince Orlofsky in Die Fledermaus with Opera Southwest c. James P. Sullivan
“Especially good was Clawson as Orlofsky. She has a strong, supple, clear voice and she can hold the stage (and steal a scene) with little more than a lifted eyebrow.”
-Ann L. Ryan, Albuquerque Journal - March 31, 1996
  As Azucena in Il Trovatore with Opera Southwest c. James P. Sullivan
“Clawson is overpowering as the old Gypsy...Clawson’s performance was of Metropolitan Opera caliber...Clawson has a burnished bronze voice that is solid as a rock. However, vocal talent is not enough for this tough role. Good dramatic ability is needed and she delivers.”
- Art Geiselman, Albuquerque Journal - 1995