Mimi – La Boheme, Opera Philadelphia

And then there’s Mimì. It cannot be easy to take on a role such as Mimì, a role so heavily laden with history and heritage. But soprano Kara Goodrich is not intimidated. Thanks to the reverse order of the acts, her Mimì becomes more vital, not less, as the show goes on. Goodrich uses this to her advantage. She does not milk the death scene too hard, because in this production Mimì’s death is not the main course. Instead, it’s her quick-blossoming love with Rodolfo that we’re building to, and so she saves her best work for the Act I getting-to-know-you aria, “Si, mi chiamano Mimì.”

Here, we finally see the full breadth of what Goodrich is capable of, and it serves the reverse narrative well. If Sharon’s goal is to shift the audience’s perspective, he’s succeeded by casting a tragic light on the usually euphoric ending of Act I. By the time Mimì reveals herself to Rodolfo, we have already seen what will become of her. As such, Goodrich’s soaring performance takes on a wistful, aching quality. We wish we could freeze Mimì in this moment, to save her from fate and to protect our sweet Rodolfo from life-altering heartbreak. – Michael Fisher, Phindie

Mimi – La Boheme, Opera Philadelphia

Speaking of singers, this was a fine cast, beginning with soprano Kara Goodrich as Mimi.  She sang beautifully with a powerful, attractive, emotion-filled voice.  It was easy to understand why, after her appearance in a minor role in OP’s Rigoletto in May of last year, OP had no problem casting her in a major role.  -OperaGene

Micaela – Carmen, Utah Festival Opera

Kara Goodrich was an impressive counterpoint to Carmen, a good woman whose love was not enough for Don José. Her interpretation of “Je dis que rien ne m’épouvante” in Act 3 at the smugglers’ hideout was exquisite. – Cache Valley Daily

Rusalka – Rusalka, AVA

Mulder’s (now Goodrich) “Song to the Moon” was ethereal, and her laments in the middle of Act II and at the start of Act III were passionately involving. She made us realize the vocal possibilities of the role, eclipsing the thinner, lighter renditions in the Metropolitan’s recent Rusalka productions. – Chestnut Hill Review

Pamina – The Magic Flute, Utah Festival Opera

Flawless in voice and easy to enjoy is Kara Goodrich as Pamina. Her voice glides and lifts the listener, fills the theater and patrons look forward to having her on stage. Her dynamics during moments of lamentation were outstanding. Projection comes easily and effortlessly to Goodrich, and her solos are memorable – Deseret News

Carnegie Hall Recital

While Ms. Mulder (now Goodrich) excels in all she sings, it seems she has a special affinity for the Slavic (see the earlier review for another instance of this). While Rachmaninoff’s genius for song is indisputable, it still requires a gifted artist to bring that genius out to its fullest. Ms. Mulder is that artist. – New York Concert Review