Vocalist - Soprano
Acclaim
 

"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
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
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