• From the diary of Virginia Woolf, Nov 2019
    "This voice is darker in timbre, powerful throughout, with still a shining high register under exquisite control."

    Broadway World - November 2019

  • Operativo, Elder Hall (University of Adelaide), Aug 2015
    "The mezzo soprano, Catriona Barr proved to be just as scintillating. Her ‘Stride la vampa’ from Verdi’s Il trovatore was richly toned and elegantly sung and her ‘Ombra mai fu’ from Handel’s Serse was beautiful – the vocal line lyrical, affecting and measured to perfection."

    Il Globo - 10th August 2015

  • Octavian (Der Rosenkavalier, Scottish Opera, Feb 2007)
    "...Catriona Barr, the young Australian mezzo who took over Connolly’s role. Barr made no attempt to copy Connolly’s rose-cavalier: she gave entirely her own reading, good enough to banish any disappointment that might have been felt at missing the better-known performer. Barr’s Octavian – an enticing mixture of innocence, sensuality and lightheartedness – was lankier, more boyish, more passionate, more temperamental than Connolly’s. She was more the teenager-in-love – wonderfully puppyish in her love-making, playful in the Act 1 repartee, pretty as Mariandel, but also with an endearing naivety that made her more vulnerable to conflicted feelings when reunited with the Marschallin in the Act 3 finale. She may lack Connolly’s tonal opulence, and there were occasional signs of strain at the top, but musically she fitted in without missing a beat. Scottish Opera was lucky to have landed such an inspiring cover, with just the temperament and stamina on which Octavian thrives. Catriona Barr is not just a trouper, she is a delight."

    Andrew Clark – Opera – February 2007

  • Dorabella (Così fan Tutte, Castleward Opera, May-Jun 2008)
    "The Australian mezzo Catriona Barr ... brings depth and breadth to the younger, more impressionable sister, Dorabella. Her acting is the best on view. When crossed, she can scowl like a Valkyrie. When things are going her way, or she is giving in to temptation, her charm and wile recall a mature Norina, or Musetta. Her contribution to this production, and her understanding of her character's music and persona, are impressive"

    The Independent – June 2008

  • Carmen (Carmen, Co*Opera, 1996-97)
    "Right to the end she was a defiant and glorious Carmen with no hint of the caricature so often seen in the role. In expressing text and phrasing she and her colleagues seemed to be the people themselves.”"

    Opera Australasia – December 1996

  • Cherubino (Le Nozze di Figaro, State Opera of South Australia, Sep 2008)
    "Catriona Barr truly shines in her role as the cheeky pageboy Cherubino."

    The Independent Weekly - September 2008

  • Suzuki (Madama Butterfly, State Opera of South Australia, Jul 2006)
    "She was well supported by Catriona Barr as Suzuki. Her role as the sympathetic support for the young Cio-Cio-San in this tragedy added to the pathos of the drama and gave more depth to the emotions that were communicated to the audience. Her use of body movement was one of the special delights of this production which used movement throughout as a communicative element."

    Opera-Opera – October 2006