Vocalist - Soprano
Acclaim
 
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
I PAGLIACCI & GIANNI SCHICCHI - Cincinnati Opera
“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
MADAMA BUTTERFLY - Minnesota Opera

“A luminous actress, Kaduce commingled poise and presence, telegraphing every tremor of Butterfly’s wrenching passage from elation to suicide.… She emitted tones of Tebaldian warmth and richness, capturing both the vulnerability and the flintiness of her character.”

Larry Fuchsberg, Opera News
NIXON IN CHINA - Eugene Opera
“As always, it seems, Kaduce was the best visual and vocal actor onstage, projecting strength as a multi-faceted Pat, incisively phrasing ‘This is prophetic!’”
Mark Mandel, Opera News
'Madame Butterfly' a tragic tale, beautifully sung
"On opening night, Kelly Kaduce was luminous in the title role of ‘Madame Buttefly' ... Kelly Kaduce, who sang the role to wide acclaim here eight years ago, was center stage at Saturday's performance. Attractive and slender, singing with a luminous, well-focused tone - she's essentially a spinto lyric soprano - excelling in both introspective passages and the more dramatic outbursts, Kaduce makes an almost perfect Cio-Cio-San (Butterfly). She handles the distinctive geisha body language with grace, and, though she skips the optional high D-flat at the end of her entrance aria, she sings a radiant ‘Un bel di,' turning it into a poignant and almost desperate affirmation of deluded hopes rather than a diva showcase. Perhaps the evening's most touching moment comes a bit later. Realizing that Pinkerton has returned after three years, she runs outside and dances in a circle - rapturously - as a shower of cherry blossoms gently falls on her, as if from the heavens."
Michael Anthony, Minneapolis Star Tribune
A remarkable 'Madame Butterfly'
"Kaduce so fully inhabits the character of Cio-Cio-San and makes each aria and duet so heart-rendingly beautiful that you'll likely marvel at her mastery of the role. You'll rarely encounter this character presented as such a convincing teenage girl, for Kaduce makes her outgoing, impetuous and immature, playful yet dignified, seemingly fragile but ruggedly resilient. It's quite a remarkable performance."
Rob Hubbard, St. Paul Pioneer Press
MADAMA BUTTERFLY - Portland Opera
"Kelly Kaduce sang expressively and acted superbly, creating a Cio-Cio-San of unusual complexity and character strength. ... The soprano stopped the show with her soaring ‘Un bel dì' and nearly did it again with her vivid inflection of the magistrate/husband pantomime. Cio-Cio-San's threat to throttle Goro and her death scene brought out the searing intensity for which Kaduce is celebrated. ... Standing ovations are as ubiquitous in polite Portland as anywhere, but it's rare to see and hear an audience immediately leap to its feet and roar as this one did for Kaduce's first solo bow."
Mark Mandel, Opera News
Version of 'Nixon in China' a Gamble That Pays Off Big
"The vocal quality on Friday evening was exceptional. Kelly Kaduce as Pat Nixon led a group of fine singing actors. Kaduce was easily as good as the excellent Janis Kelly in the Met's HD simulcast of this opera last year. Kaduce's warm, incisive voice and acting skills made Pat Nixon's lyrical aria in Act II the vocal highlight of the evening."
Marilyn Farwell, Eugene Register Guard
'Madame Butterfly' waits on the hill
"Kaduce hits the high notes, figuratively and literally. A veteran at the role, she takes the character deeper than a fragile victimized butterfly trapped and undone by American indifference."
Angela Allen, Oregon ArtsWatch
Portland Opera's 'Madame Butterfly' soars with Kelly Kaduce's singing in title role
"... Kaduce flitted from emotion to emotion with deft transitions and abundant vocal colors. In the first act, she went from pride over her formerly noble upbringing to blissful excitement over her new prospects, from suspicion about Pinkerton's feelings to agony over her family's renunciation; in the second, she was rapturous in the show-stopper, "Un bel dì"; in the third she convincingly combined maternal love and utter anguish."
James McQuillen, The Oregonian
Rusalka - Opera Colorado
"Kelly Kaduce, who sang the premiere of this production at Minnesota Opera in 2008, brought a light, well-focused soprano to the title character, taking things slowly and lovingly in her big aria. She looked properly fragile and vulnerable, shaping a sweetly likable, neatly shaded characterization."
Marc Shulgold, Opera News
"Rusalka" an imaginative break from standard fare
"But the unequivocal star of this production is soprano Kelly Kaduce, a complete performer with a big, natural stage presence. She appears totally at home as Rusalka, investing the nymph who longs for love with both compelling vulnerability and strength. The role ideally suits Kaduce's fetching, expressive voice, and she displays power, depth and flexibility across the entirety of her range."
Kyle MacMillan, Denver Post
Michigan Opera Theatre's 'Boheme' is another tribute to DiChiera
"Kaduce's Mimi wasn't a jot less brilliant. Her voice is as majestic as it is supple and warm. She's also an engaging actress, as persuasive in all that kittenish lost-key and cold-hands business at the start as she was in the more reticent gestures of Mimi's death scene."
Lawrence B. Johnson, Detroit News
'La Boheme' by Michigan Opera Theatre still electrifies
"Kaduce created a sturdier and perhaps more intelligent Mimi than you sometimes see, her creamy voice and supple phrasing communicating a deep inner life for this outwardly simple seamstress. She partnered beautifully with Demuro in their duets, and the sensitivity with which she sang her deathbed music was deeply affecting."
Mark Stryker, Detroit Free Press

"And speaking of perfection, it was embodied in the performance of soprano Kelly Kaduce, making her Tulsa Opera debut as Violetta. People, you have got to hear this lady sing.

"Kaduce's voice is full and rich, unusually powerful but always maintaining a caramel-like sweetness - her high notes were ringingly clear, without so much as a hint of shrillness or effort. Even better, she can use all that fullness, all the power, all that sweetness in the most expressive ways."

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James D. Watts Jr., Tulsa World
Kaduce's Incandescent Cio Cio San, Jovanovich's Injudicious Pinkerton, Emblazon Blakeley's "Butterfly" - Santa Fe Opera, July 16, 2010
"Kaduce's performance justified her reputation, displaying a large spinto voice with the gleaming top that this opera requires. Her love duets with Brandon Jovanovich, who has emerged as a tenor with a beautifully sounding power voice, capable of mastering the music both of Puccini and Wagner, were memorable."
Opera Warhorses
Madame Butterfly Takes Wing in Santa Fe
"As Cio-Cio-San, Kelly Kaduce brings an amber-tinted soprano, particularly rich at mid-register, to her deeply felt, dramatically satisfying interpretation. Whether coming to grips with Pinkerton, warding off suitors and slanderers, or chastising her maid Suzuki for her lack of faith, Kaduce's is a full-blooded Butterfly -- strong, stoic, and vulnerable only in private. She is also a hands-on mother. Singing at full voice, this Butterfly picks up her son, Trouble (Makai Pope), and carries him around as she converses with him. Waiting for Pinkerton all night, she sits erect, motionless, in Zen-like determination before singing with aching pathos.... It is a performance to treasure."
Rodney Punt, Huffington Post
Santa Fe Opera storms into season
"Solidly anchoring this production is soprano Kelly Kaduce - a powerful, vocally secure singer. (She is set to take the title role in Opera Colorado's production of 'Rusalka' in February.)

"If her portrayal of Cio-Cio San (Butterfly) in the first act does not convey the full complexity of the adolescent bride's contradictory emotions, the character's breakdown after she realizes she has been betrayed comes off as gut-wrenchingly real and moving."

Kyle MacMillan, Denver Post
Honest to Butterfly
"Soprano Kelly Kaduce may have seemed typecast as The Asian Heroine at past SFO premieres: Actress/ZiZheng in 2003's Madame Mao and Princess Lan in 2007's Tea: A Mirror of Soul. Her Cio-Cio-San demolishes stereotypes. This is no conventional Butterfly-as-victim, but a woman of consequence. A graceful stage figure, vocally transparent and secure throughout her range, Kaduce makes her first-act love duet with Pinkerton seem an ecstatic dream."
John Stege, Santa Fe Reporter
Soprano soars as Butterfly at Santa Fe Opera's opening night
"Soprano Kelly Kaduce, as Cio-Cio-San (the 'Madame Butterfly' of the title), stood at the head of the cast in every way. Her singing, never less than impressive, assumed mounting intensity as the evening unfurled. Still in the dawn of her career, she boasts a thoroughly realized, uncluttered technique, and her performance was infused with musical flow and emotive flexibility."
James M. Keller, Santa Fe New Mexican
Divine singing redeems MOT's 'Don Giovanni'
"As Donna Elvira, recently wedded and abandoned by Don Giovanni and now determined to recapture him, soprano Kelly Kaduce offers equal parts of vocal prowess and incensed resolve."
Lawrence B. Johnson, Detroit News
The Hun Wears Prada
"Lan has the most expressive vocal music in the piece, sung here with richness and fervor by soprano Kelly Kaduce."
Heidi Waleson, Wall Street Journal
The sound of water, wind and fire
"Best of all is the American soprano Kelly Kaduce as Lan, the Chinese princess."
Steve Cohen, Broad Street Review
'Tea' melds two cultures in a fragile but fine brew
"Among the excellent cast, Kelly Kaduce (as Chinese Princess Lan) and Haijing Fu (a Japanese monk) found the sense behind the vocal contours...."
David Patrick Stearns, Philadelphia Inquirer
Pagliacci, Suor Angelica, Florida Grand Opera, 11/14/09
"In a large cast of singers, Kelly Kaduce - cast as Nedda and as Angelica - acted as a fulcrum. Kaduce respects operatic tradition but is a prototype of the contemporary artist. Her singing was musically correct and often radiant. As Nedda, her air of deluded glamour was consistent with Canio's spiting depiction of her as ‘sense-seeker.' ... In Angelica, Kaduce's best moments came in the arioso and the confrontation scene."
Robert Carreras, Opera News
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