Language: Swedish | English |

Bel Canto for Life


Katarina Pilotti takes to these full-on romantic songs with total conviction. These are not scaled down salon effusions but works of often operatic inclinations or virile folk accent. Pilotti has the vocal and intellectual apparatus to meet their challenge with out and out skill and passion.
(Rob Barnett, MusicWeb International, Nov 10 '10, reviewing my Sjögren CD)
The solo quartet interpreted their parts with finesse. Especially the soprano Katarina Pilotti excelled with her ability to reflect the implicit subtle nuances in Mozart's score with keen sensitivity.
(Per Björck, Hallandsposten, March 7 '11, on Mozart's Requiem, my transl)
Here, Katarina Pilotti sings extremely well. It's not heavy or laggard, but rather very lyrical and slender even in the low range.
Her voice has a fantastic timbre on the high notes, almost bringing me to tears. She also manages to articulate well both in the ornaments and on the deepest notes.
(Jennie Tiderman, Dalarnas tidningar Nov 10 '08, on Mozart's Exultate Jubilate, my transl)
The precursor to Dove Sono, Agnus Dei, was sung beautifully by Pilotti.

It was definitely the high point of the evening. It was poised, emotional and glimmering.
(Jennie Tiderman, Dalarnas tidningar Nov 10 '08, my transl)
Katarina Pilotti introduced herself with three visionary songs of the sea by Gösta Nystroem, one of Sweden's most unusual composers. She interpreted the dreamily peculiar music with suggestive intimacy and intensely sounding timbre, showing Katarina Pilotti's great artistry.
Katarina Pilotti finished the first half with five Lieder by Richard Strauss. Songs by this Late-Romanticist composer always require great skill, temperament and interpretation. [...] Katarina Pilotti delivered her interpretations with beautiful tone, rich colour and great insight. Michael Engström accompanied her with a sensitive touch.
(Dag Lundin, Eskilstuna-Kuriren, Aug 10 '04, my transl.)
[...] and with that insight, these infinitely beautiful "Vier letzte Lieder" stand and fall. In her face and in her song, we could now follow the journey from the wondrous light and birdsong of Springtime in the first song, via the falling leaves and tired eyes of Autumn, to the transcendental visions of the soaring soul as we sleep, and to the last song's aged wisdom and calm waiting for death.
Here I came unusually close to crying, so touching was Pilotti's interpretation of this song of the Gloaming, with its serene bliss and troubled condoleance. It was, after all, written by an 84 year-old man in excile, who for over 50 years was married to his favourite singer, Pauline de Ahna. And who here finally quotes himself from the work of his youth, "Tod und Verklärung".
(Fride Jansson, Sörmlands Nyheter, Aug 24 '01, my transl.)
Pilotti aced one song after another. As Margareta in Gounod's Faust, her voice sparkled like the jewel box of which she sang.
(Birgit Ahlberg-Hyse, Vestmanlands läns tidn 12/7-02, my transl.)
Katarina gave a dazzling interpretation, and her voice moved effortlessly between folk music, bel canto, renaissance tears and Nordic herding calls.
(Eva Clementi, DN, Sep 26 '98, my transl.)
She sang the Peterson-Berger songs lovingly and tempered, increasing her flow and passion when she returned with Ture Rangström, and absolutely radiated in the compositions by Stenhammar. A perfect blend of lyrical sweetness and dramatic passion was shown in the Runeberg poem "The girl came from her lover's meeting". Overall, Katarina Pilotti displayed in both her voice and plastique a wonderful feeling for the delicacy of Lieder.
(Birgit Ahlberg-Hyse, Vestmanlands läns tidn Jul 12 '02, my transl.)
And with Katarina Pilotti as soloist, it was a given success. She radiated as much as her dress in sunny yellow and red orange, and demonstrated her natural stage presence and versatility in her singing, with or without a microphone. There was a groove in the "Will Song", glittering joie de vivre in "I could have danced all night", and concentrated feeling in Ellington's "Heaven". And Rosina's famous cavatina sounded excellently despite stiff accompaniment to her excuisite coloraturas.
(Fride Jansson, my transl.)
Katarina Pilotti, one of Sweden's most talented sopranos, with elegant high notes, wonderfully clear intonation, and not least, displaying an eminent art of presentation, interpreted her parts with expected sublimity.
(Dag Lundin, Eskilstunakuriren, May 7 '01, my transl.)
Three individually sensitive Poulenc romances, excessively draped in harmony, received an air of first class artistry through Katarina Pilotti.
(Dag Lundin, Eskilstuna-Kuriren, 1992, my transl.)

Katarina Pilotti made a delightful Barbarina.
(Elizabeth Forbes, OPERA)

Katarina Pilotti began by singing Schubert quite splendidly. With a soft and warm voice she performed "Der Hirt auf dem Felsen, op. posth 129", with lyrics by Wilhelm Müller, and some songs by Poulenc, with lyrics by Vilmorin, all performed with great feeling.
(Bertil Danielsson, my transl.)