Vocalist - Soprano
Acclaim
 
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

"She’s performed around the world — South America, Canada, Australia and the United States.

"She’s performed in the great operas from 'Madame Butterfly' to 'Turandot' and world premiere operas including 'Silent Night' and 'Grapes of Wrath.' She returns to the lead role in the Minnesota Opera production of 'Rusalka,' which opens Saturday, and will sing the part of Wendy next month in Minnesota Opera’s world premiere of 'The Shining.'”

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Kathy Berdan, Saint Paul Pioneer Press
Boston Lyric Opera Breathes New Life Into ‘La Bohème’

“Then there’s Kaduce, a Mimi that will stay in memory. Her ‘Si, mi chiamano Mimi,’ introducing herself to Rodolfo in the freezing apartment, was natural, unforced and commanding, as was every note that came from the soprano in this performance.”

Keith Powers, WBUR
Kelly Kaduce shines in Sommerfest's 'Madame Butterfly'

“Kaduce’s Butterfly is no stranger here. She sang the role twice for Minnesota Opera, in 2004 and 2012, in a thoughtful staging by the late Colin Graham, and she has performed it elsewhere. She seems now to fully occupy the character. She is perhaps the finest Butterfly of her generation. Believable as a girlish and shy 15-year-old geisha when she first meets Pinkerton, she grows into a figure of deeply affecting tragic stature when, at the end, she kills herself so that Pinkerton and his wife can take her child home to America. The death was beautifully managed. Kaduce simply raised her arms above her head and, wearing long sleeves, slowly dropped her arms, enclosing herself, as if an actual butterfly were folding its wings and dying. Few soprano parts are as demanding on the voice as this one. Kaduce was equal to the challenge, however, and her voice, essentially a spinto lyric soprano with a silvery tone, proved to be both flexible and attractive. Her ‘Un bel di,’ though beautifully sung, was a portrait of desperation — a woman creating for herself the illusion that Pinkerton will return.”

Michael Anthony, Minneapolis Star Tribune
The Passenger - Lyric Opera of Chicago

“Kaduce, … as the Russian Katya, was a standout among the secondary leads.”

Sarah Bryan Miller, St. Louis Post-Dispatch
Lyric Opera closes season with Weinberg’s moving, powerful “Passenger”

“Kelly Kaduce made a noteworthy Lyric bow as Marta’s doomed Russian friend, Katya, floating a heartbreaking a cappella rendering of a Russian folksong.”

Lawrence A. Johnson, Chicago Classical Review
'The Passenger' by Lyric Opera

“These Lyric performances, like those in Bregenz, are sung in the languages of the inmates of the prison camp – Russian for the young Soviet partisan’s haunting lament for her homeland (soprano Kelly Kaduce delivers it wonderfully), along with German, Polish, French, Yiddish, Czech and English. The added verisimilitude makes a big difference.”

John von Rhein, Chicago Tribune
MADAMA BUTTERFLY – Florida Grand Opera

“Butterfly is one of soprano Kelly Kaduce’s signature roles: she inhabits the character. Her voice has an almost childish softness that makes her appear at first as a frail, very naïve, young woman, until life and destiny catch up with her. Kaduce’s Cio-Cio-San sets to die with great honor, singing a tender but dispassionate ‘Tu, tu, piccolo iddio.’”

Jean-François Lejeune, Opera News
Intimate 'Madama Butterfly' an impressive season debut

“Frequent FGO visitor Kelly Kaduce on opening night was so enchanting and convincing that the audience could not help but be moved. Her expressive voice and acting skill were so organically infused that it rarely seemed like a performance. From her first appearance, her Cio-Cio-San exuded a radiance, grace and joy that seemed both natural yet otherworldly in its purity and just plain decency. Having sung the role three times before, she simply inhabited Butterfly, making the character’s decision to commit suicide – risible in a naturalistic 21st century sensibility – believable.”

Bill Hirschman, Sun Sentinel
FGO opens season with a compelling and spectacular "Butterfly"

“Soprano Kelly Kaduce make[s Cio-Cio San] a character that we root for continuously until the final tragedy. It’s easy to identify with Kaduce’s charmingly nuanced teenage Butterfly. By turns, fiery, impetuous, lithe, and lovely, she is an open book, eager to please and embracing everything American, only reserved when she remembers herself.... Over the evening, she proves repeatedly that her voice and emotional range are well suited for the demanding role. By the end of Act I, Kaduce is in full force, flowing beautifully between youthful and womanly, loud and soft.... Kaduce’s coquettish revelations afford brief but intense glimpses of Butterfly’s complete devotion to Pinkerton, portending her renunciation on several levels. In the opera’s most famous aria, ‘Un bel di,’ Kaduce doesn’t disappoint. As Butterfly’s long-held fantasy unfolds, Kaduce wrings out incredible emotional impact, unleashing Butterfly’s true vulnerable heart to powerful effect.”

Dorothy Hindman, South Florida Classical Review
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