Patricia Racette

“A superb performance from Patricia Racette in the title role, conveying a fatal mixture of sexual frustration, self-delusion and psychopathic ruthlessness”Richard Morrison, The Times
“Patricia Racette charts Katerina’s transformation from bored, resentful chattel to emancipated woman with steely control, and unswerving musical authority”Andrew Clements, The Guardian
“Patricia Racette is sensational as Katerina, the morally challenged wife who makes Lizzie Borden seem like Heidi. Tcherniakov paints her as a sociopath who withdraws whenever possible into a nest of self-absorption (expressed in physical terms by a carpet-lined box where she lets her emotional hair down), but the great American soprano contributes a three-dimensional humanity all her own. Indeed, all the singers do an excellent job of rising above the production; she, though, is a star.
Racette's interpretational subtlety is as dazzling as her rock-solid vocal command. She dominates the unravelling tale, honours to the hilt the title's ironic sobriquet and invests her big, chromatic soliloquy with an overwhelming sense of thwarted languor. We are never allowed to forget that Katerina is victim first, multiple murderer second.”Mark Valencia, What’s on Stage
“Patricia Racette, singing with sometimes raw intensity, played this repressed Katerina with impressive authority, her very stillness a window on the emotions locked within.”Richard Fairman, The Financial Times
“Singing sturdily and steadily, Patricia Racette makes a touching Katerina,…“Rupert Christiansen,  The Telegraph 
“Patricia Racette incarnates Tcherniakov’s conception of Lady Macbeth admirably. She’s less the sassy, man-eating anti-heroine of tradition than a long-suffering victim of male abuse whose slow-burning revenge brings her not release but the torments of guilt. Racette’s measured voicing and acting of the role explores the character’s interior feelings rather than her brazen façade.”Barry Millington, The Evening Standard
“The character of Katerina is a complex one, and Patricia Racette makes us believe in her utterly as she veers between the desperation of being downtrodden in a loveless marriage to the triumph of controlling her own destiny back to the twin despairs of imprisonment and sexual betrayal, making Katerina’s extreme actions seem inevitable to us in the audience... Racette, Daszak, Hayward and Peter Hoare (as Katerina’s husband Zinovy) all sang well, Racette outstandingly so, with attractive timbre and phrasing, a great deal of emotion injected into each line and no difficulty in being heard above the orchestra.”David Karlin, Bachtrack