Vocalist - Soprano
Thaïs - Minnesota Opera

"As the beauteous Thaïs, soprano Kelly Kaduce, a household name in her native Minnesota, delivered her share of electrifying moments"

Larry Fuchsberg, Opera News
Madame Butterfly - Santa Fe Opera

"Soprano Kelly Kaduce reprises the title role, which she originated in this production eight years ago...her portrayal was powerful, rising to heartrending passion especially in her Act One love duet with Pinkerton (“Viene la sera”) and, in Act Two, her scene with her son, Dolore (Trouble), and the extended cascade toward her demise."

James M. Keller, Santa Fe New Mexican
Madame Butterfly - Santa Fe Opera

"Evocatively portrayed by soprano Kelly Kaduce, Cio-Cio-San denies her religion, family and country to fully embrace an arranged marriage to Lt. Pinkerton (tenor A. J. Glueckert)."

Judith Reynolds, The Durango Herald
Threepenny Opera - Boston Lyric Opera

"The production brightened, however, with the introduction of its two strongest performances, Kelly Kaduce’s Polly Peachum and Christopher Burchett’s Macheath. Kaduce’s Polly is no ingénue but an ornery teenager with a thoroughly jaded view of love and sex. This refreshing and endearingly comic interpretation put a subtly contemporary spin to the Boston Lyric’s version of Brecht’s work."

Angelo Mao, Opera News
Sumptuous "Thais" Closes Minnesota Opera Season

"There’s always glamour and a regal touch when Kelly Kaduce appears with the Minnesota Opera, but in Massanet’s “Thais,” the Minnesota-born soprano shows grit and a searing intensity along with her natural radiance... As Thais, the ancient Egyptian party girl and priestess of Venus who, like Verdi’s Violetta many years later worries about her fading beauty, Kaduce masters the long, sensuous lines of Massanet’s rapturous score in moments such as her triumphal entry (“C’est Thais, l’idole fragile”) and her Act II ruminations on time and mortality (“Dis-moi que je suis belle”). But it’s the darker, more desperate moments where Kaduce thrills with precise but full-throated intensity."

Jay Furst, Post Bulletin Minnesota
Minnesota Opera’s ‘Thais’ is a triumph in music, dance and design

"[Audiences have] never experienced a performance from [Kelly Kaduce] as captivating as this one. Kaduce not only brings beauty and power to Thais’ demanding vocal lines but makes her a smooth seductress who seems genuine in her love of the pleasures of the flesh, not a devious femme fatale but an open-hearted voluptuary...Both characters undergo transformations, and Kaduce and baritone Lucas Meachem make them eminently believable, their chief tools being voices rich in texture and passion."

Rob Hubbard, Twin Cities Pioneer Press
Minnesota Opera's strong cast, staging lighten Massenet's unsettling 'Thais'

"'Thaïs' is, naturally, nothing without a good Thaïs, and it had one in Winnebago, Minn., native Kelly Kaduce...Kaduce’s interpretation caught fire at the opening of Act 2, where she soliloquized on her fading beauty. From then on her portrait of the violently conflicted courtesan had a thrilling intensity."

Terry Blaine, Star Tribune
Boston Lyric Opera's 'The Threepenny Opera' Is On The Money

"The principals in the cast are...Kelly Kaduce (Polly Peachum), humorous and daring to do the unexpected"

Nancy Grossman, Broadway World Boston
The ‘opera for beggers’ brings its bawdy humor and wit to Boston

"Our lead, Polly Peachum (Kelly Kaduce), or as she insists, the wife of Macheath, is played by Kaduce with overt playfulness. Her nasally, affronted, childish voice is so amusing that when Kaduce does open her mouth to sing for Macheath’s criminal friends, the audience is left captivated at the contrast."

Ivy Li, The Tech
A Little Night Music - Des Moines Opera

"As Desiree Armfeldt, Kelly Kaduce delivered a touchingly understated 'Send in the Clowns'."

Mark Thomas Ketterson, Opera News
Review: Atlanta Opera’s ‘Turandot’ tries, succeeds on a grand scale

"The most moving moment on opening night belonged to Kaduce as Liù... with Kaduce diving headfirst into all of its dramatic peaks and valleys. With her powerful voice and impressive acting ability, she enacts the character’s sudden boldness, making for a moment of genuine tragedy and beauty at the show’s center."

Andrew Alexander, myAJC
Pagliacci & The Seven Deadly Sins

“Kelly Kaduce… the soprano's big, bright sound served her well in the role of Nedda. So did her finely detailed portrayal, which found her leaping off a fountain rim, arms spread as if in flight, at the end of 'Stridono lassu,' and, in a telling moment, almost weakening as Tonio pushed himself on her."

Tim Smith, Opera News
'Pagliacci' and 'The Seven Deadly Sins'

"Nedda (Kelly Kaduce) is delightful from the start, oozing charm and personality. Later, in several arias, her voice is extremely moving, especially impressive in the upper register, as she conveys vulnerability, desire, fear and desperation. Physically Kaduce is also a marvel, whether deftly offering physical comedy, or poetically entwining herself with lover Silvio in several scenes, where the choreography shone, even when the bodies were barely moving, as limbs and torsos were interlocked so beautifully as to become almost sculptural."

Andrew Garrigue, Richmond Times-Dispatch
Virginia Opera pairs two works in unique way to look at two sides of sin

"Kaduce sang Nedda, the adulterous wife who pays with her life for her romantic yearnings. Dramatically alive at every moment, she sang the role superbly, with a rich, powerful voice that soared and made the climactic moments thrilling."

Paul Sayegh, Virginian-Pilot
Falstaff - Des Moines Metro Opera

"Kelly Kaduce scored a winning house debut with her intelligent, womanly Alice."

Thomas Ketterson, Opera News
Falstaff in Iowa: A Big Fat Hit

"As said wife Alice Ford, the always winning, effortlessly beautiful Kelly Kaduce scored yet another success. Ms. Kaduce’s acting and especially, her comic sense are without peer on the operatic stage (as Beverly Sills might say: 'Lucille Ball with high notes')."


James Sohre, Opera Today
Falstaff – Des Moines Metro Opera

"Kelly Kaduce scored a winning house debut with her intelligent, womanly Alice."

Mark Thomas Ketterson, Opera News
'Falstaff' is non-stop motion till the end

"Equally pleasing in this production is the extraordinarily charismatic Kelly Kaduce, making her DMMO debut as Alice Ford, one of the two 'merry wives' of Windsor whom Falstaff ridiculously attempts to seduce. Kaduce’s lovely soprano and her confident movement around the stage as she directed the various revenge-plots were marvels to enjoy."

Bruce Carr, Des Moines Register
‘The Shining’ and ‘The Scarlet Letter’ Reviews

"With her big dramatic soprano, Kelly Kaduce made Wendy’s fight for her family credible."

Heidi Waleson, Wall Street Journal

"As Wendy, soprano Kelly Kaduce was fully in command of Moravec’s high-lying lines, a key exponent of the note of hope that is a counterpart to Jack’s descent, springing up again in the tragedy’s aftermath."

Thomas May, Musical America
Mulligan Surpasses Nicholson in Great New Opera that Explores the Cycle of Child Abuse

"Kelly Kaduce, an exquisite soprano, is heartbreaking as Wendy, Jack’s overwhelmed wife."

John Townsend, Lavender Magazine
Paul Moravec’s “The Shining”: World Premiere at Minnesota Opera

"Kelly Kaduce, as Wendy Torrance, displayed a full arsenal of vocal and acting skill, which they used to deliver outstanding performances. The English captions above the stage, while appreciated, were hardly needed due to Mulligan and Kaduce’s excellent diction. Early in the first act, Kaduce sings a poignant 'I’ve never stopped loving you…' full of affection and round, complex vocal tone. Moments of sweetness, such as that, are testimonies to the overall cast chemistry. This connectivity on stage helps the audience care for the characters before they descend into the intensity and madness of the story."

Megan Ihnen, I Care If You Listen
The Shining = Brilliant Psychodrama (Minnesota Opera)

"As Wendy, Kaduce endures an even more tortuous journey than her previous Tosca, showing some splendid acting along with her trademark beautiful voice."

Basil Considine, Twin Cities Arts Reader
The Shining

"[Jack] is perfectly partnered by Kelly Kaduce’s strong, appealing Wendy.... Moravec gives Kaduce a traditional aria ('I never stopped loving you'), with long arching phrases and a flowering melody. It’s a standout number, and Kaduce delivered it with affecting beauty."

Joshua Rosenblum, Opera News
Minnesota Opera's 'The Shining' review: Spine-chilling and superb

"Kelly Kaduce makes Wendy an engaging everywoman..."

Rob Hubbard, Saint Paul Pioneer Press
'Shining' opera premiere is scary good

"Kelly Kaduce, with her bright lyric soprano, was a sexy, loving, sometimes desperate Wendy, a much stronger, more resilient character here than in the movie."

Michael Anthony, Minneapolis Star Tribune
Sumptuous Tosca Muddles Imagery, Makes Out Musically

"Kaduce was in full form on opening night, a dazzling presence on stage as she delivered both playful and heart-wrenching musical lines."

Basil Considine, Twin Cities Arts Reader
Kelly Kaduce steps vividly into title role of Minnesota Opera's 'Tosca'

"The soprano handled Puccini's famous diva role with aplomb.... An actress of uncommon penetration and a singer of generous and subtle skills, Kaduce has been shining a bright light on operatic stages around the country."

Michael Anthony, Minneapolis Star Tribune
Three leads power Minnesota Opera’s ‘Tosca’

"It’s Kelly Kaduce’s company now. Or at least it could seem that way. In Minnesota Opera’s first three productions of 2016, she portrays all of the female leads.... Kaduce brought fire to her portrayal of a tempestuous diva thrown into the middle of a violent political conflict, each aria impressive in its rich shadings, every duet with hero or villain a fine blend, be its passions romantic or spiteful."

Rob Hubbard, Saint Paul Pioneer Press
Lush Rusalka Delights (Minnesota Opera)

"Kaduce seems tailor-made for the role of the tragic water nymph, compellingly embodying Rusalka’s hope and vulnerability in Act I, frustrated silence and desperation in Act II, and dignified despair in Act III – all with a rich, vibrant voice and expressive form to capture the full range of her character’s journey."

Lydia Lunning, Twin Cities Arts Reader
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