Vocalist - Soprano
FGO's 'Pagliacci' and 'Suor Angelica'
"Passion drenches Angelica. Puccini's rich melodies, Forzano's prescient lyrics and Kaduce's fervent performance as the title character are inescapably moving, especially her pleas to join her son in death, Senza mamma."
Bill Hirschman, South Florida Sun-Sentinel
La Bohème, Portland Opera, 9/25/09
"Soprano Kelly Kaduce led the way as a stronger, less passive Mimì than usual. A superb actress with a voice that was even and seamless throughout its range, Kaduce was at her very best when expressing feelings at full throttle, as in Mimì's Act III scene with Marcello, where her tone was searing and her presence riveting."
Mark Mandel, Opera News
FGO's Pagliacci and Suor Angelica: Two operas about the perils of sex
"Musically, Suor Musically, Suor Angelica is a forgotten gem, ethereal and lovely, and Kaduce's voice cuts straight to the back of the Arsht Center's auditorium like a big blue heavenly laser."
Brandon K. Thorp, Miami New Times
Florida Grand's "Pag and Suor" opener a distinctly mixed bag
"Soprano Kelly Kaduce starred in both operas, getting stabbed to death in Pagliacci, then committing suicide in Suor Angelica. She sang Nedda in Pagliacci with a powerful, lush, well-focused tone, and she was an animated presence on stage, whether singing about her desire for freedom or desperately trying to keep the play going as her husband's threatening intentions became clear."
David Fleshler, South Florida Classical Review
Soprano Kelly Kaduce stars in <i>Suor Angelica</i>.
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"'I'm going to say that maybe a good handful of Puccini operas are kind of like a chick flick, and [Angelica] is one of them,' Kaduce says." Read More...
Greg Stepanich, Miami Herald
Passionate affair raw with emotion
"Soprano Kelly Kaduce (Nedda) was without question the best of the singers. She was strong in every respect. Her voice was as plush as a feather pillow, her tone golden. Moreover, she created a character that was multifaceted and believable - her Nedda was both caring and callous."
John Pitcher, Omaha World-Herald
<span class="mt-enclosure mt-enclosure-photo" style="display: inline;"><span class="photo-breakout photo-center large"><span class="byline"></span><span class="caption">Rodolfo (right), played by Arturo Chacon-Cruz and Mimi, played by Kelly Kaduce, in a scene from the first act when they meet in the opera La Boheme presented by Portland Opera</span></span></span>
"But it was Kelly Kaduce, who sang Mimi with gorgeous, open lyricism, who made the magic happen. Less flirty and frail-looking than most Mimis, she combined a beautiful voice and an instinct for understatement that melted our hearts." Read More...
David Stabler, The Oregonian
Portland Opera dishes up wonderful La Bohème
"Kaduce created a superb Mimi, the young seamstress who has tuberculosis. Kaduce's soprano could soar and lift an ocean of hope with its warmth. Her final aria had a sense of fragility that was memorable."
James Bash, The Gathering Note
Salome (6/3/09), Opera Theatre of Saint Louis
"With theatrical heavyweight Kelly Kaduce in the title role, one expected the dance of the seven veils to be extraordinary, and it was indeed full of invention, simultaneously childish and sexy. ... Kaduce is an artist whose brains and willpower often override her sense of vocal self-preservation, but theatrical ferocity, along with careful pacing, brought her through the final scene not just unscathed, but triumphant."
Judith Malafronte, Opera News
'Karenina' opera a worthy tribute to late OTSL chief
"The cast is headed by the remarkable soprano Kelly Kaduce in the title role, singing beautifully and sympathetically."
Sarah Bryan Miller, St. Louis Post-Dispatch
At St. Louis Opera, a queen loses her head and a princess orders one on a silver
"'Salome' was a triumph for soprano Kelly Kaduce, St. Louis' resident prima donna assoluta, whose singing as the eponymous Judean necrophiliac rode a crest of sumptuous Straussian lyricism. For once, you could believe the Salome you were hearing really was a teenage princess. And how many Salomes can sing, act and dance this killer role as effortlessly as Kaduce?"
John von Rhein, Chicago Tribune
Gory Gory Hallelujah! Salome at Opera Theatre of St. Louis
"One of the highlights of Salome is watching OTSL favorite Kelly Kaduce take the reins of the production and never let go. She commands the audience with one of the most fearless performances of the season, adapting her vocal range to convey the wide array of emotions displayed by the enchanting yet scary, Salome. The linchpin of this opera is the legendary Dance of the Seven Veils. Every interpretation of Salome defines itself by the presentation of this dance. Kaduce's interpretation is saucy and seductive yet tasteful and transfixing. Kaduce doesn't slow down here. As the body count rises, she again holds court over a captive audience at the end of the production when Salome undergoes a complete psychotic breakdown."
Rob Levy, KDHX (St. Louis)
A Favorite, a Standard and a Rarity at Opera Theater of Saint Louis
"Soprano Kelly Kaduce is, quite simply, one of the finest singing actresses of our day - and she can dance, too. She has a warm, distinctive lyric instrument that was up to the myriad vocal challenges of the title role, and she even looked the part of an attractive teenager. It was a knockout performance on every count."
Sarah Bryan Miller, Musical America
Shockingly beautiful: Kelly Kaduce as Salome, shown with the head of Jokanaan.
"Kaduce, star of last season's Madame Butterfly, gives a knockout performance as the oversexed teenage daughter of Herod, ancient Judea's Roman ruler." Read More...
Lew Prince, St. Louis Riverfront Times
Le Nozze di Figaro, Florida Grand Opera, 3/21/09
"As his restless spouse, Kaduce offered the best command of Mozartean style in the principal quartet. The musical summit of this night's performance was her 'Dove sono.'"
Robert Carreras, Opera News
Kaduce triumphs as Opera Theatre's Salome
"Kelly Kaduce is always an affecting performer, a superb singer and committed actress. As Salome, she also demonstrated grace as a dancer. Kaduce's portrayal of the Princess of Judea was complex and fully developed, gradually revealing the monstrous nature of the girl's obsession with the prophet Jokanaan.

"It didn't hurt that, unlike most sopranos capable of singing the part, she looked as young as the character she played. The vocal writing is notoriously demanding, with a wide range concentrated in a high tessitura; no problem. Kaduce was simply stunning in the role."

Sarah Bryan Miller, St. Louis Post-Dispatch
Anna Karenina
"Aided by music that underscores Anna's emotional lability, Kelly Kaduce creates a capricious, driven, but thoroughly sympathetic Anna, her evenly produced, golden-toned soprano intelligently bent and shaped to every emotion."
Ronald E. Grames, Fanfare
Kaduce shines in 'Opera Night' at the SLSO
"Kaduce was consistent, however. She was a standout when she first sang here, with a beautiful voice and a beautiful person, but she has grown vocally and artistically over time. The voice is large and lovely, with a touch of steel; well-produced, it filled the hall easily.

Kaduce has genuine charisma and projects tremendous warmth. She sang three very different arias: the tour de force from 'Traviata' and, by Puccini, 'Madame Butterfly's' Un bel di' and 'O mio babbino caro,' from 'Gianni Schicchi.'"
St. Louis Post-Dispatch
"Vocally, soprano Kelly Kaduce's Desdemona carried away the evening's highest honors. In a brief curtain speech, KO general director David Roth told the Whitney Hall audience that Kaduce would sing despite having a sinus infection. If she was still suffering, however, it wasn't apparent in her lusciously inflected account of the Act Four 'Willow Song,' and in the clean, unforced way she spun out her phrases earlier in the performance." Read More...
Andrew Adler, Louisville Courier-Journal
"Executive Director David Roth says it is a coup for the Kentucky Opera to land Kaduce -- partly because the 33-year-old soprano may be on the verge of opera stardom (she was on the cover of the July Opera News, for example), but also because Kaduce typifies a new breed of operatic performers who can act and sing." Read More...
Bill Doolittle, Louisville Eccentric Observer
David Pomeroy is Pinkerton and Kelly Kaduce is Cio-Cio-San in Opera Theatre St. Louis' soaring Butterfly.
"Soprano Kaduce brings a finely honed and fully formed portrayal, rich in detail, to an elegantly conceived production that has had all its kinks worked out." Read More...
Lew Prince, Riverfront Times (St. Louis, MO)
Soprano Kelly Kaduce has become a festival favorite at Opera Theatre of Saint Louis, where she takes on Madama Butterfly this month. Read More...
F. Paul Driscoll, Opera News
Kelly Kaduce in the title role of the Opera Theatre of Saint Louis' production of 'Madame Butterfly.'
"It's hard to imagine a more sympathetic Cio-Cio San than Kaduce, though. Her voice is warm, beautiful and evenly produced throughout its wide range, and her high notes soar effortlessly. The arc of her character development was perfect, from the shy 15-year-old of the first scene to the woman who chooses to die with honor in the last. This was a performance to cherish." Read More...
Sarah Bryan Miller, St. Louis Post-Dispatch
"Kelly Kaduce, who grew up in Winnebago, Minn., and graduated from St. Olaf College, returns to her home state to sing the title role in Minnesota Opera's production of 'Rusalka,' which opens Saturday. Antonín Dvorak's opera is a 'Little Mermaid' story, but with a tragic ending. Kaduce (kah-DEUCE) last appeared with the Opera in 'The Grapes of Wrath' in February 2007. She also sang 'Madame Butterfly' with the Opera and was Mimi in 2002's 'La Bohème.' She has performed in Boston, New York, Los Angeles, Santa Fe and St. Louis, among other venues. We tossed her five questions -- by e-mail because she was trying to protect her voice." Read More...
Graydon Royce, Minneapolis Star Tribune
LEADING PAIR: Kelly Kaduce and Arturo Chacón-Cruz star in Opera Pacific's production of "La Bohème at the Orange County Performing Arts Center. <br />
"Kaduce is a Mimì to reckon with. She knows just when to give her richly toned voice the gas and when to lay back - there was a great deal of variety in her phrasing. Her death scene was tenderly, exquisitely done, both Müller and her in rapt pianissimo. Kaduce has a confident stage presence, too. She'll be one to watch." Read More...
Timothy Mangan, Orange County Register
"The young American soprano, who makes her debut with the Orange County company, is on a steady ascent."
Timothy Mangan, Orange County Register
Kelly Kaduce is a tour de force in the title role.
"Kelly Kaduce's performance in the title role is a tour de force. She captures Anna's every nuance, from frustrated propriety to foolhardy infatuation to morphine-fueled disintegration, all the while singing gloriously." Read More...
Scott Cantrell, Dallas Morning News
"Up next in the Bates College Concert Series are acclaimed opera singers Kelly Kaduce, soprano, and Lee Gregory, baritone." Read More...
Lewiston Sun-Journal
"[Kelly] Kaduce made of Anna a really moving and touching portrait, delineating her decline into despair and addiction with an understated elegance and power, so that her death was not so much a shock as a final call to rest of a tortured soul." [David Carlson's ANNA KARENINA - Florida Grand Opera]
Patrick J. Smith, Musical America
"Kelly Kaduce's Boston Lyric Opera debut as Thaïs in the company's season finale (seen April 30) could be considered a glorious example of perfect casting. Sounding and looking the part of the courtesan driven by impulses of flesh and spirit. Kaduce was a luminous, affecting presence; one could easily believe that she was a woman of legendary beauty. Kaduce sings with bell-like purity and silvery sweetness, and she suspends her legato with an effortless, sensual spin. A born actress, Kaduce is also a masterful illuminator of text. But her choices never seem studied; the impulsiveness of Massenet's writing unfolded as quicksilver inspirations, subtle and spontaneous. Always elegant, Kaduce can also let loose, but her high notes (easy, radiant high Ds) are not superimposed vocally, they emerge from the raw emotion of the text. A better performance of this role would be hard to imagine." [THAÏS - Boston Lyric Opera]
Opera News
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