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Katharine Goeldner almost refused the 1997 Opera Omaha offer. The Iowa-born mezzo had spent the past decade building a thriving career in Europe, and singing Siebel in Omaha's Faust would mean giving up a season-long contract in Halle, Germany. Goeldner sought the counsel of an old friend, who urged her to accept the Nebraska assignment. "I know a lot of singers who've simply disappeared into German houses," warned Renee Fleming.
It was good advice. Six years after that Midwestern homecoming, Goeldner's American career is thriving--in fact, she will be a fixture in pants roles on New York stages this season. She tackles Ruggiero in Handel's Alcina for New York City Opera this month, and at the Met she'll be singing Cherubino, Ascanio in Benvenuto Cellini and the Page in Salome.
Last spring, NYCO audiences were treated to Goeldner's first Carmen. This Gypsy was no typical spitfire but an extraordinarily self-possessed, mature woman, so thoroughly aware of her sexual force that she had no need to advertise it. "The usual complaint about ...