Vocalist - Soprano
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
Kelly Kaduce is a moving Butterfly in the Canadian Opera Company's alternate cast of the Puccini classic

“[Kelly Kaduce] captured Butterfly’s delicacy. She really starts to shine in the second half, revealing a fiery, determined side of the character while still able, when caught off guard, to become the shy teen mother.... The soprano acts and sings the opera’s most famous aria, Un Bel Dì, with passion; moving between reverie, wish and surety, she provides a key part of the drama. She’s equally fine in the scene with the American consul, Sharpless.... Butterfly’s sheer joy bursts out when she hears the cannon of Pinkerton’s ship in the harbour. As she waits resolutely for him to appear … you can watch the young woman’s hoped-for future play across Kaduce’s face.... This Butterfly belongs [to] Kaduce, and well before the end she’s convincingly given it wings.”

Jon Kaplan, Now Toronto
DIALOGUES OF THE CARMELITES - Opera Theatre of Saint Louis

"Detailed, focused performances: … Chief among these was Kelly Kaduce as Blanche — by turns proud, vulnerable, hysterical and heroic, and luminous throughout. … She was masterly at using her voice to sharply theatrical effect and making us attend to each step of Blanche’s spiritual journey.”

Fred Cohn, Opera News
'The Passenger' is a haunting rarity at the Lincoln Center Festival

“In one poignant case, the vibrant Katya (Kelly Kaduce, in gleaming voice) attempts a folk song, a reminder of life before the camp, but can no longer fully remember it: that life is slipping away.”

Ronni Reich, New Jersey Star-Ledger
Houston Grand Opera Delivers Powerful Experience with "The Passenger"

“The composer produces some breathtaking melodic and structural invention, especially in a gorgeous duet for Marta and her fellow prisoner Katya (soprano Kelly Kaduce, singing lyrically).... Breedt, Moore and Kaduce have full, shining voices. They sang with excellent articulation and beautiful sound. Most importantly, they were consistently inside the music and characters, expressing difficult nuances of anguish, agitation, bluster, strength and tenderness with clarity.”

George Grella, New York Classical Review
Saint Louis: A Hit is a Hit is a Hit

"Kelly Kaduce inhabits every role she assumes, so it comes as no surprise that she found every ounce of tremulous emotion and nuance in the character of Blanche. Her focused lyric instrument was a good fit for the role, and Ms. Kaduce effectively limned all the dramatic milestones in Blanche’s trip to redemption and eternal peace. She was an exemplary proponent of this rather gentle girl who has a profound transformation."

James Sohre, Opera Today
TURANDOT - Utah Opera

“Kelly Kaduce as Liù gave the night’s most credible performance, impressing with a vocal sweetness that belied the sonic force coming from this soprano’s slight frame. Her reactions during the torture scene were chilling, and her efforts were rewarded with the evening’s biggest ovations.”

Robert Coleman, Opera News
Opera Theatre of St. Louis spring season

“Soprano Kelly Kaduce, a longtime St. Louis favorite, was an affecting, firmly sung Blanche, gradually revealing the vulnerability at the core of this fretful neurotic.”

John von Rhein, Chicago Tribune
In 39th season, Opera Theater of St. Louis shows good health, new work

“… each nun froze as the sound of the blade sliced through the room, and then took a seat, almost prosaically, as if boarding a bus. It seemed anticlimactic — until the moment when two of the singers who had been singing marvelously all night, Kelly Kaduce as the timorous protagonist Blanche and Ashley Emerson as a radiant Sister Constance, locked hands and eyes in a single brief gesture. The moment was so small and yet so powerful that when the ovations began — and they were vociferous — both singers came out to take their bows in tears.”

Anne Midgette, Washington Post
Nuns Face the Guillotine in Bold Telling of Dialogues of the Carmelites

“In the OTSL’s production, the marvelous soprano Kelly Kaduce plays the opera’s central character, Blanche de la Force, a deeply fearful noblewoman whose existential anxiety reaches new heights when peasants attack her carriage. Blanche is frightened by the physical world. She’s panicked by shadows at night, and Kaduce, who possesses a rich, supple voice that fills Poulenc’s short phrases with a creamy vitality, brings great nuance to this remarkably complicated figure.”

Malcolm Gay, Riverfront Times
'Dialogues of the Carmelites' showcases Christine Brewer, fine cast

“This tragic tale is filled with memorable characters. Kelly Kaduce, whose extraordinary ‘Salome’ a few years ago is still talked about, vocally soars as Blanche. A gifted actress, she was effective conveying Blanche’s anxieties and fears about living.”

Lynn Venhaus, Belleville News-Democrat
OTSL's DIALOGUES OF THE CARMELITES Grandly Rewards Your Patience

“Kelly Kaduce is such an actress. Her splendid voice perfectly masters Poulenc; at times, in Blanche’s hysteria, those highest notes stab through the melody like a bright dagger. But it is Miss Kaduce’s acting that most surprises us. With a lean, haunted look, she engages our pity. At times she simply becomes fear. At one point of panic-cringing against a pillar, every fiber trembling, she virtually melts into terror.”

Steve Callahan, Broadway World
'The Passenger' Arrives at Last
“As the fierce Russian partisan Katya, Kelly Kaduce was mesmerizing in the a cappella Russian folk song that she sings before the guards finally take her away.”
Heidi Waleson, Wall Street Journal
Lyric-bound opera confronts Holocaust issues in strong U.S. premiere
“Kelly Kaduce made the young Russian partisan's lament for her lost boyfriend a haunting moment.”
John von Rhein, Chicago Tribune
Weinberg's Opera Haunts, Challenges
“Kelly Kaduce’s singing as Katya was … extraordinarily pure and touching.”
Marcus Karl Maroney, ConcertoNet.com
Houston Grand Opera's US Premiere of THE PASSENGER is Brilliant
“Soprano Kelly Kaduce’s performance as Katya is a true highlight of the evening. Playing a strong willed Russian woman, her first appearance in the opera leaves the audience gasping because we are witnesses a brutal attack against her. Despite this, Kelly Kaduce creates a woman made of tempered steel and teaches the women in the barracks that they must never forgive. Her aria, a Russian ballad from her childhood, almost steals the show out from other performers as the audience is swept away by her incredible performance and the crushing blow that comes at the conclusion of the number. Like Marta haunts Liese, Kelly Kaduce's Katya haunts audiences for hours-even days-after the opera has ended.”
David Clarke, Broadway World
Puccini had to start somewhere, critic says
“Manon is a natural for her, vocally as well as theatrically. She’s sparkling and screwy in the first two acts, like an 18th century Miley Cyrus, and she meets her come-uppance in the latter two; both ways she’s persuasive, and her range, technique and charisma are stunning in the third act, especially.”
Jay Furst, Rochester Post-Bulletin (MN)
Minnesota Opera's 'Manon' rocks

“Kelly Kaduce was brilliant in the title role. Part lovebird, part gold digger, the too-beautiful Manon is the first of Puccini’s complex heroines — spirited, sensual, conflicted, narcissistic. Kaduce, her voice at once silken and steely, embraces that complexity. In Act 2, she commands the stage. Her death scene is affecting.”

Larry Fuchsberg, Minneapolis Star-Tribune
'Manon Lescaut' review: Minnesota Opera captures Puccini's passion
“Borne aloft by the powerful and intensely expressive voices of Kelly Kaduce and Dinyar Vania as the lovers at the center of the story, it’s a staging that captures well the class conflicts that propel Antoine-Francois Prevost’s novel.... Kaduce brings out the kid in Manon, making her immaturity and impetuousness fairly forgivable, while Vania’s des Grieux brings a believable subtlety to a lover wrestling with devotion and betrayal.”
Rob Hubbard, St. Paul Pioneer Press
The Rare Heroine Who Prevails
“The lustrous-voiced soprano Kelly Kaduce offered a tour de force performance as Nedda, in a black bodice and tutulike skirt as Colombina, Nedda’s stage persona.”
Vivien Schweitzer, New York Times
St. Louis: Winner and Still Champion
“The evening’s total triumph belonged to our Nedda. Has anyone ever seen a performance of Pagliacci’s heroine that could rightly be called a ‘tour de force’? I didn’t think so. Well, now we have, as the dynamo named Kelly Kaduce swept all before her. That she has a secure, malleable, soprano voice capable of considerable power as well as glowing effects goes without saying. But it is also just possible that Ms. Kaduce is the finest actress on the operatic stage today. There was no milli-second of her completely thought-out performance that was not informed by innovative business and deeply internalized motivation. Kelly combined physical comedy worthy of Lucille Ball, dramatic detailing worthy of Meryl Streep, and sultry beauty worthy of Angelina Jolie. And she sings, too!”
James Sohre, Opera News
Gripping Il Tabarro and Pagliacci Pairing in St. Louis!
“Kelly Kaduce's Nedda Outstanding! To my mind, the truly outstanding performance of the evening - vocal and dramatic - was given by Minnesota soprano Kelly Kaduce as Nedda.… During the play within a play she used her hands – and her voice – with remarkable virtuosity. Her high energy Nedda set the drama in motion and made her murder in the final scene incredibly shocking. Kaduce is a riveting presence on an operatic stage and I will watch her developing career with great interest.”
Paul E. Robinson, La Scena Musicale
Doubleheader Sweep: With Il tabarro and Pagliacci, Opera Theatre registers a rout
“Kelly Kaduce’s performance as Nedda, Canio’s wife, in Pagliacci, is the highlight of the evening. OTSL regulars are familiar with Kaduce’s wide range. Her first performance with the company was a luminous one, as the naive Sister Angelica in the one-act of the same name; likewise, none who saw it will ever forget her lurid title turn in Salome. Here she has to be both brazen and vulnerable as an abused wife who is scheming her way out of a loveless marriage. And in the play within Pagliacci, Kaduce must begin as a bawdy comedian and slowly evolve into the tragic victim of both her own feckless scheming and her husband’s rage. She pulls it all off flawlessly. Kaduce’s singing combines easily with her acting. Both flow naturally from her character and brighten or deepen as that character's situation evolves. Kaduce’s voice has taken on darker hues over the years, and she knows how to paint with them.”
Lew Prince, Riverfront Times
Dark 'Tabarro' and 'Pagliacci' grimly satisfying at Opera Theatre of St. Louis
“Soprano Kelly Kaduce was dazzling as Nedda, the third party in this twisted triangle. Her voice has grown and darkened slightly while retaining its velvet-over-steel beauty. Her acting is fearless; her physicality and stage presence are superb. Her Nedda is a tough kid from the streets, thrusting a foot firmly into Tonio’s crotch, sexually aggressive with her secret lover, Silvio, quite aware of her beauty and its uses, giving as good as she gets and as vulgar as she wants to be. Her death scene was riveting and shocking in its realism as she shook and then slumped over, still wide-eyed.”
Sarah Bryan Miller, St. Louis Post-Dispatch
Kelly Kaduce as Madam Butterfly.
Madam Butterfly remains a beauty
“US soprano Kelly Kaduce’s performance as Cio-Cio-San, or Madam Butterfly, was both convincing and undeniably a stand-out. The strength and energy in her voice was striking, inspiring goose bumps at times, and her vocal range projected the intricacy of emotions required to build an unbreakable connection between her character and the audience.Kaduce’s abilities as an actress, infused with a range of energies from soft and delicate to overpowering and dramatic, further strengthened her role and made it near-impossible for the audience to take their eyes off her, as well as garnering the desired empathy.”
Kristy Symonds, Perth Sunday Times
“Kelly Kaduce more than held her part of the stage as Nedda, offering coloratura brilliance in her Ballatella, sensuous abandon in her duet with Silvio and an almost insane defense against Canio, culminating in her agonizing death. A luminous voice, textual interpretation in depth and acting skills of the first order make Kaduce the total package.”
Charles H. Parsons, Opera News
Cincinnati Opera opens with love, death and laughter
“Kelly Kaduce’s Nedda is a vocal and dramatic delight. Her voice soars, her actions, as the cute Columbina in the play and the tragic cuckolder, are engaging.”
Burt Saidel, Oakwood Register
Double Your Fun with Cincinnati Opera Opener
“Kelly Kaduce takes top honors in Leoncavallo’s tragedy. Her gleaming soprano and acting skills quickly defined the unhappy Nedda, who longs for freedom and love.”
Anne Arenstein, Music in Cincinnati
Review: Opera's double bill wonderful mix of comedy, tragedy
“As Nedda, Kelly Kaduce was the ideal combination of a singer with enormous vocal beauty and superb acting ability. She was charming in the role of Columbine in the little play with Harlequin, and feisty as she rejected the advances of Tonio. Her rooftop aria, ‘Stridono lassu,’ recalling the birds of her childhood, was poignant and golden-voiced.”
Janelle Gelfand, Cincinnati Enquirer
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