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  Sopranos: Janis Kelly - Reviews
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Il barbiere di Siviglia‚ Glyndebourne on Tour
Opera Magazine (December 2017)


'Among the smaller parts‚ the wonderful Janis Kelly’s sneezing Berta offered a quite different characterization from her Mrs-Overall-meets-Montserrat-Caballé impersonation in the Caurier-Leiser staging at Covent Garden‚ not quite as slapstick perhaps‚ and she still has plenty of voice for her aria di sorbetto. A character artist of near genius.'

Il barbiere di Siviglia‚ Glyndebourne on Tour
Classical Source (October 2017)


'Janis Kelly (Bertha) produced a pearl from her single aria – and made clear that this ageing spinster is still up for it.'

Il barbiere di Siviglia‚ Glyndebourne on Tour
MusicOMH (October 2017)


'Janis Kelly was the sole representative of the first cast‚ and she was a finely sung‚ lovingly detailed Berta despite having to carry out embarrassing actions.'

Le nozze di Figaro‚ Garsington Opera
Arts Journal (June 2017)


'Marcellina is luxury casting‚ the wonderful Janis Kelly makes the role rollickingly funny. '

Le nozze di Figaro‚ Garsington Opera
BachTrack.com (June 2017)


'The smaller roles are given luxury 3D treatment‚ especially Janis Kelly’s garish but still-glamorous Marcellina (whose transformation from spiteful cougar to tiger-mother is at once hilarious and touching)... '

Le nozze di Figaro‚ Garsington Opera
Fine Times Recorder (June 2017)


'Janis Kelly is an unusually loveable Marcellina‚ the old retainer with a guilty secret. Many years ago‚ when I started my journalistic career‚ I hated the tendency of older critics to compare performances with those they had seen in what seemed to be the “dark ages.” Now I join them.
In the 1990s‚ in the unprepossessing setting of Reading Hexagon‚ Opera Factory brought their touring production of Figaro with Janis Kelly in the role of the Countess. In more than 20 live performances of the opera‚ and many more on records and CDs‚ her performance stood out for its extraordinary beauty‚ vulnerability and depth.
Now she turns to the (usually) old battleaxe role with affection‚ wit and charm‚ again entrancing the audience.
'

Le nozze di Figaro‚ Garsington Opera
Forum Opera (June 2017)


'Janis Kelly est une Marcellina épatante dans ce qui lui reste de rôle (son air est‚ classiquement‚ coupé). /// Janis Kelly is an amazing Marcellina in what remains of her role (her aira is‚ traditionally‚ cut). '

Le nozze di Figaro‚ Garsington Opera
MusichOMH (June 2017)


'Has either Timothy Robinson or Janis Kelly ever failed to inhabit a role to such a degree that it’s impossible to imagine it being bettered? Unlikely‚ if their Basilio and Marcellina here are anything to go by. Robinson’s suave‚ caustic‚ impeccably sung music master and Kelly’s hilarious‚ persuasive housekeeper are absolute classics‚ and they form the perfect trio with Stephen Richardson’s sonorous Bartolo. '

Le nozze di Figaro‚ Garsington Opera
Opera Today (June 2017)


'The last time I saw Janis Kelly‚ at Glyndebourne in 2016 as Berta in Rossini’s Barbiere‚ she threatened to steal the show. And‚ the same was true here: her Marcellina was a cross between ’Hyacinth Bucket’ and Queen Elizabeth II‚ but her voice is still fresh and youthful. The Act 3 revelations of Figaro’s origins were expertly done - Kelly switched from financial grabbing matriarch to matronly concern in the twinkling of an eye; and‚ Kelly’s theatrical experience no doubt was of enormous help to the younger members of the cast. '

Le nozze di Figaro‚ Garsington Opera
The Independent (June 2017)


'...and Janis Kelly extracts laughter of the sort one more usually expects from an Orton comedy‚ as the frumpy housekeeper Marcellina. '

Le nozze di Figaro‚ Garsington Opera
The Stage (June 2017)


'Special commendation goes to the excellent Janis Kelly as the social-climbing Marcellina‚ whose forceful personality is well matched by her costumes '

Le nozze di Figaro‚ Garsington Opera
The Times (June 2017)


'Plentiful chuckles met the hide-and-seek shenanigans; the comic timing as Janis Kelly’s sharp Marcellina was revealed to be Figaro’s mother was delicious.'

Nixon in China‚ Omroep Muziek
BachTrack.com (February 2017)


'Soprano Janis Kelly gave us a winning characterisation of the First Lady‚ Pat Nixon‚ in turn touching or almost comically impressionable. '

Nixon in China‚ Omroep Muziek
Opera Today (February 2017)


'His diction was crystal-clear‚ as was Janis Kelly’s in the role of Pat Nixon. Kelly sang with irreproachable operatic technique and the subtleties of a musical actress‚ every accent and colour sounding natural. Her Pat was a likeable mixture of practicality and feminine warmth. '

Il barbiere di Siviglia‚ Glyndebourne Festival BBC Prom
Classical Source (July 2016)


'Janis Kelly proved as nimble a dancer as singer in her aria‚ and even though it is Berta’s only big vocal outing it brought the house down. '

Il barbiere di Siviglia‚ Glyndebourne Festival BBC Prom
Opera Today (July 2016)


'Janis Kelly was rather luxury casting as Berta‚ and she made her single aria into a wonderfully show-stopping number.'

Il barbiere di Siviglia‚ Glyndebourne Festival BBC Prom
Seen & Heard International (July 2016)


'It was lovely to see the experienced Janis Kelly there as Berta‚ her Act 2 aria astonishingly characterful‚ her voice strong. '

Il barbiere di Siviglia‚ Glyndebourne Festival
Mundoclasico.com (June 2016)


'Una Janis Kelly vestida de traje sastre la cantó y bailó con el histrionismo necesario para merecer una de las mas grandes ovaciones de la noche // Janis Kelly dressed in a tailored suit sang and danced with the histrionics necessary to deserve one of the biggest ovations of the night'

Il barbiere di Siviglia‚ Glyndebourne Festival
BachTrack.com (May 2016)


'Janis Kelly grabbed Berta’s little Act II aria and turned it into something quite wonderful.'

Il barbiere di Siviglia‚ Glyndebourne Festival
Financial Times (May 2016)


'Janis Kelly turns Berta’s little aria into a show-stopper.'

Il barbiere di Siviglia‚ Glyndebourne Festival
Mark Ronan.com (May 2016)


'Janis Kelly as Bartolo’s servant Berta inspiring spontaneous applause following her excellent Act 2 aria on the frenzy and craziness around her.'

Il barbiere di Siviglia‚ Glyndebourne Festival
Opera Today (May 2016)


'Janis Kelly showed that her Miss Marple-spinster’s outfit hid a rampant vivaciousness‚ and stole the show with Berta’s lament for missed romantic chances‚ ‘Il Vecchiotto Cerca Moglie’.'

Il barbiere di Siviglia‚ Glyndebourne Festival
The Stage (May 2016)


'Janis Kelly makes something of a showstopper out of her cleverly vocalised‚ wittily acted account of efficient housekeeper Berta’s aria.'

Il barbiere di Siviglia‚ Glyndebourne Festival
The Telegraph (May 2016)


'Janis Kelly’s outrageous scene-stealing as the housekeeper Berta drew genuine laughter. '

Sweeney Todd‚ Welsh National Opera
Opera (December 2015)


'Ultimately‚ though‚ this must be a paean to the exceptional Janis Kelly‚ whose portrayal of Mrs Lovett was simply outstanding and testimony to her consummate skills as a singing actress...the resonance Kelly brought to her characterization tipped the balance of power ever further in Mrs Lovett’s favour. Hers was the razor-sharp performance of the evening'

Sweeney Todd‚ Welsh National Opera
Daily Post (November 2015)


'All the cast are excellent but a special mention for Janis Kelly as Mrs Lovett. She gets all the best lines and threatens to upstage Todd'

Sweeney Todd‚ Welsh National Opera (Llandudno)
Seen & Heard International (November 2015)


'The set‚ particularly the barber’s chair and cinematic effects are quite superb as are some of the performances. Particularly outstanding is that of Janis Kelly as Todd’s new woman. Hearing and seeing her as a singing actress reminded me of Eric Roberts as Doctor Bartolo in Rossini’s Barber‚ seen several times in Llandudno in the shared production with Opera North. Her every little tick‚ facial expression and body movement serving the creation of the part to perfection. She lives acts and portrays the role that is anything but appealing‚ but becomes the centre of the action creating a woman infatuated by the sadistic but imposing Todd as portrayed by David Amsperger – at least until she becomes a victim of the Demon Barber'

Sweeney Todd‚ Welsh National Opera
BachTrack.com (October 2015)


'Clearest of all was Janis Kelly as an irresistibly comical‚ sinister Mrs Lovett‚ who seemed to be channelling Joan Sutherland‚ Fanny Craddock and Mary Berry in rapid succession‚ permed blonde wig sprayed firmly into place'

Sweeney Todd‚ Welsh National Opera
Guardian (October 2015)


'Janis Kelly’s Mrs Lovett steals the honours‚ with fine comic timing'

Sweeney Todd‚ Welsh National Opera
Sunday Times (October 2015)


'Janis Kelly certainly isn’t the first opera singer to succeed with Mrs Lovett‚ but she’s the first in my experience not to sound anything like an opera singer. She’s one of the most creative artists in the business‚ a true theatrical chameleon‚ with plenty of rasp to her voice and a deft way with words to reveal the black wit of “Priest”. One of the joys of the staging is her appearance‚ after the success of the pie enterprise‚ as a ringer for Dick Emery’s peroxide drag persona‚ Mandy (readers of my age might remember her catchphrase‚ “Ooh‚ you are awful‚ but I like you”)‚ which Kelly carries off with delicious aplomb'

Sweeney Todd‚ Welsh National Opera
The Arts Desk (October 2015)


'Janis Kelly catches this image with precision‚ from the slatternly but twinkly purveyor of “The worst pies in London” to the not wholly passive recipient of Tobias’s affection in “Not while I’m around”. And her vocalising – soprano when required – is consistently stylish and to the point'

Sweeney Todd‚ Welsh National Opera
The Stage (October 2015)


'...authentically Cockney contributions of Janis Kelly’s desperate Mrs Lovett'

Sweeney Todd‚ Welsh National Opera
The Times (October 2015)


'Janis Kelly’s equally convincing Mrs Lovett so compellingly rancid'

Sweeney Todd‚ Welsh National Opera
Wales Online (October 2015)


'Janis Kelly was gruesomely entertaining as Mrs Lovett'

Albert Herring‚ Royal Academy of Music
Opera (September 2015)


'The excellent young cast were inspired by that terrific signing actress Janis Kelly‚ her Lady Billows a portrait of preposterousness and provincialism'

Albert Herring‚ Royal College of Music
BachTrack.com (July 2015)


'Janis Kelly is an elegant treat as Lady Billows‚ a brilliant balance of the esteemed grande dame who rules her village with the flick of an eyebrow‚ and a tired old lady who secretly knows the world she nostalgically longs for no longer exists – if‚ indeed‚ it ever did'

Albert Herring‚ Royal College of Music
Planet Hugill.com (July 2015)


'As Lady Billows‚ Janis Kelly gave a masterclass in comic acting and showed that with the right technique‚ you do not need a giant voice to sing this role. This was very much a Lady Billows who could quell a room with a look or a syllable'

Albert Herring‚ Royal College of Music
The Arts Desk.com (July 2015)


'Although performances alternate between two different casts‚ the constant across all nights of Albert Herring is the wonderful Janis Kelly‚ anchoring all around her as the magnificently unimpressed Lady Billows. She’d be luxury casting anywhere‚ but here she galvanises and energises her young co-stars‚ daring them to match her vivid vocal acting'

The Turn of the Screw‚Théâtre du Capitole Toulouse
Concerto.net (November 2014)


'...un couple Quint/Jessel très convaincant‚ Jonathan Boyd et Janis Kelly‚ et les deux orphelins‚ Matthew Price et Eleanor Maloney‚ impeccables. // a couple Quint / Jessel very convincing‚ Jonathan Boyd and Janis Kelly‚ and the two orphans‚ Matthew Price and Eleanor Maloney‚ impeccable'

The Turn of the Screw‚Théâtre du Capitole Toulouse
Diapasonmag.fr (November 2014)


'Jonathan Boyd et Janis Kelly distilent superbement les sortilèges sulfureux du couple fantôme /// Jonathan Boyd and Janis Kelly conjure up the devilish spells of the ghostly couple superbly'

The Turn of the Screw‚Théâtre du Capitole Toulouse
Forum Opera.com (November 2014)


'Janis Kelly‚ la bourgeoise Mrs Coyle‚ est méconnaissable en Miss Jessel‚ rôle qui lui permet de déployer sa voix dans toute son étendue et d’y faire passer un désespoir aussi intense qu’étroitement contrôlé. Leur duo du deuxième acte donne un sentiment d’intimité à faire frissonner /// Janis Kelly‚ the bourgouis Mrs Coyle‚ is unrecognisable as Miss Jessel‚ a role which allows her to use the full range of her voice in a performance which conveys intense despair‚ but is at the same time perfectly controlled. Their duet in the second act creates an atmosphere of thrilling intimacy'

Il barbiere di Siviglia‚ Royal Opera House Covent Garden
BachTrack.com (September 2014)


'Janis Kelly’s Berta was a hoot'

Il barbiere di Siviglia‚ Royal Opera House Covent Garden
Guardian (September 2014)


'...and even more of a treat to have a soprano of the calibre of Janis Kelly in the tiny role of Berta‚ the maid‚ swaying those prosthetic buttocks with pride'

Il barbiere di Siviglia‚ Royal Opera House Covent Garden
MusicOMH.com (September 2014)


'Janis Kelly gives a highly polished performance as Berta‚ singing her aria while swigging from a bottle'

Il barbiere di Siviglia‚ Royal Opera House Covent Garden
Opera Britannia (September 2014)


'Smaller parts were no less well taken; the Berta of Janis Kelly was impressive enough that‚ particularly as one heard her soaring high notes in the chorus that ends Act I‚ one wished she could have had more to sing'

Il barbiere di Siviglia‚ Royal Opera House Covent Garden
Seen & Heard International (September 2014)


'Janis Kelly‚ last seen by this reviewer as Hazel George in Glass’s The Perfect American over at St Martin’s Lane‚ was a strong Berta'

Il barbiere di Siviglia‚ Royal Opera House Covent Garden
Spectator (September 2014)


'Janis Kelly a fabulously vivid Berta'

Il barbiere di Siviglia‚ Royal Opera House Covent Garden
The Times (September 2014)


'Janis Kelly’s boisterous governess‚ Berta'

Il barbiere di Siviglia‚ Royal Opera House Covent Garden
What’s On Stage.com (September 2014)


'Completing the ‘below-stairs’ team‚ Janis Kelly’s unusually glamorous‚ chippy Berta made one lament the fact that role is so tiny'

Owen Wingrave‚ Aldeburgh Festival
General-Anzeiger-Bonn.de (June 2014)


'Susan Bullock‚ Janis Kelly und Catherine Backhouse verkörpern die herzlosen‚ unnachgiebigen Frauen‚ die Owen schließlich zugrunde richten /// Susan Bullock‚ Janis Kelly and Catherine Backhouse embody the heartless‚ relentless women who eventually ruin Owen'

Owen Wingrave‚ Aldeburgh Festival
What’s On Stage.com (June 2014)


'In a cracking cast...Janis Kelly a steel-eyed Mrs Julian'

Rufus Wainwright Concert‚ Festspielhauses St. Pölten
Die Presse.com (March 2014)


'Janis Kelly widmete sich zunächst „All Days Are Nights – Songs for Lulu“‚ einer zum Teil auf Shakespeare-Sonetten basierenden Liedersammlung Wainwrights‚ die sich vorrangig mit den düsteren Seiten der Existenz befasst. Schwieriger Stoff‚ von Kellys zart-herbem Sopran mit etwas Zuversicht lackiert. Besonders das die Knabenliebe behandelnde „Sonnet 10“ gewann durch ihre schwebende Interpretation /// Janis Kelly initially devoted herself to "All Days Are Nights - Songs for Lulu"‚ one based in part on Shakespeare sonnets songs collection Wainwright‚ which primarily deals with the darker side of existence. Difficult material‚ painted by Kelly delicately bitter soprano with confidence. Especially the pederasty treated "Sonnet 10" won by their floating interpretation'

Rufus Wainwright Concert‚ Festspielhauses St. Pölten
Kurier.at (March 2014)


'...die schottische Sopranistin Janis Kelly‚ die für Kirchschlager einsprang und Wainwrights Kunstlieder "All Days are Nights – Songs for Lulu" sang. Kelly war die Richtige dafür. Wainwrights Songs neigen zum dramatischen‚ ausladenden Gestus und Kelly interpretierte ebendiese Dramatik‚ ohne dabei auf das Augenzwinkern und die leisen Zwischentöne zu vergessen. Denn die emotionale Bandbreite dieses fabelhaften Komponisten ist groß: Von Rührung bis schmunzeln ist alles dabei. Kelly‚ am Klavier von Sarah Tysman begleitet‚ gelang es‚ alle diese Rollen zu spielen. Sie hat Erfahrung mit Wainwright‚ dessen musikalischer Neugier es geschuldet ist‚ dass er auch eine Oper schrieb: "Prima donna" wurde 2009 in Manchester uraufgeführt‚ Kelly sang die Titelrolle ///...the Scottish soprano Janis Kelly‚ who stepped in for Kirschschlager and Wainwright’s art songs "All Days are Nights - Songs for Lulu" sang. Kelly was the right choice. Wainwright’s songs tend to be dramatic‚ sweeping gestures and Kelly interpreted precisely this drama‚ without forgetting a wink and the subtle shades. Because the emotional range of this fabulous composer is large: from emotion to smile is everything. Kelly‚ accompanied on piano by Sarah Tysman‚ managed to play all these roles. She has experience with Wainwright‚ whose musical curiosity is due to writing an opera‚ "Prima donna" was premiered in Manchester in 2009‚ Kelly sang the title role'

Satyagraha‚ English National Opera
Opera Britannia.com (November 2013)


'Janis Kelly was in fine voice as Mrs Naidoo‚ blending especially well with mezzo Stephanie Marshall at the start of the long ensemble in Act III'

Satyagraha‚ English National Opera
Seen & Heard International.com (November 2013)


'Two female singers stand out for comment: Sarah Pring’s Mrs Alexander and Janis Kelly’s Mrs Naidoo'

DVD Nixon in China‚ Metropolitan Opera
The Arts Desk.com (June 2013)


'This production is brilliantly cast – Janis Kelly’s weary Pat Nixon is a joy‚ never better than when she’s being shown the delights of Beijing at the start of Act 2'

The Perfect American‚ English National Opera
Classical Music.com (June 2013)


'...strong performance from Janis Kelly as his nurse...'

The Perfect American‚ English National Opera
Classical Source.com (June 2013)


'...the performances are strong...Janis Kelly as the nurse Hazel George (“Snow White”)'

The Perfect American‚ English National Opera
Financial Times (June 2013)


'...Donald Kaasch‚ Janis Kelly and David Soar stand out in a good cast'

The Perfect American‚ English National Opera
Opera Britannia.com (June 2013)


'The always excellent Janis Kelly and Pamela Helen Stephen were the two women in Disney’s life‚ his nurse and Lillian‚ Walt’s wife'

The Perfect American‚ English National Opera
Seen & Heard International (June 2013)


'...Janis Kelly (Hazel George‚ Disney’s nurse) added colour and character'

The Perfect American‚ English National Opera
Stage (June 2013)


'Individual performances are consistently good...Janis Kelly as his personal nurse Hazel George‚ and Pamela Helen Stephen as his wife Lillian all make the most of their material'

The Perfect American‚ English National Opera
The Opera Critic.com (June 2013)


'...his intimate sharing with his caring nurse‚ whom he has dubbed "Snow White" and is well taken by Janis Kelly‚ is poignant'

Dead Man Walking‚ Eugene Opera
The Register-Guard (March 2013)


'Both British soprano Janis Kelly as Sister Helen Prejean and American mezzo Susanne Mentzer as Joseph’s mother are well known as superb singing actresses. Kelly has a radiant voice with enviable tonal consistency. Her scenes with Mayes‚ especially in the second act‚ were riveting'

The Perfect American‚ Teatro Real Madrid
ConcertoNet.com (January 2013)


'Très belles‚ les agiles et parfois formidables voix féminines: Janis Kelly‚ soprano et actrice avérée (elle a chanté Violetta‚ Despina... et Pat Nixon dans l’opéra de John Adams et Peter Sellars)/// Very beautiful‚ the agile and sometimes great female voices: Janis Kelly‚ soprano and proven actress (she sang Violetta‚ Despina... and Pat Nixon in the opera by John Adams and Peter Sellars)'

The Perfect American‚ Teatro Real Madrid
Los Angeles Times (January 2013)


'The rest of the mostly excellent large cast includes David Pittsinger as Roy Disney‚ Donald Kaasch as Dantine‚ Janis Kelly as Disney’s nurse Hazel George'

Clemency‚ Scottish Opera
Stage (September 2012)


'Janis Kelly is bursting with spirit as Sarah‚ incredulous when the strangers announce she is pregnant'

Clemency‚ Scottish Opera
Times (September 2012)


'...strong performances from Janis Kelly and Grant Doyle'

Intermezzo‚ Buxton Festival
Opera (September 2012)


'Janis Kelly engaged our sympathy‚ sang enchantingly in the final love duet and‚ most importantly‚ let us hear 99 per cent of her words. In a long and taxing role she confirmed her reputation as a high-quality singing-actress'

Intermezzo‚ Buxton Festival
Arts Desk.com (July 2012)


'At the centre of it all is Christine‚ who is hardly off the stage. Janis Kelly is just terrific in the part – querulous‚ self-serving‚ bitchy‚ coquettish‚ loving. Hers is an all-embracing characterisation and she sings with great clarity. The show is worth seeing for her alone...'

Intermezzo‚ Buxton Festival
Bachtrack.com (July 2012)


'...as Storch’s paranoid and intense wife Christine (Pauline)‚ Janis Kelly was exemplary. Easily the ‘main character’ of the opera‚ she is on stage in ten of the thirteen scenes and Kelly exhibits her skill in playing what most husbands would consider an undoubtedly insufferable woman. Excellent diction and lyrical singing that would not be out of place in Der Rosenkavalier or Daphne made for highly entertaining listening'

Intermezzo‚ Buxton Festival
Financial Times (July 2012)


'The role of Christine Storch could have been written for Janis Kelly: she captures the self-pity‚ the haughtiness‚ the pathos‚ as well as the strident tone of a character who would be easy to caricature but comes across here as intensely human. It is one of the best things Kelly has done'

Intermezzo‚ Buxton Festival
Guardian (July 2012)


'Musically‚ it’s exceptional. In what may well prove a career-best performance‚ Kelly really gets to the heart of the vulnerability beneath Christine’s tantrums'

Intermezzo‚ Buxton Festival
New York Times (July 2012)


'...its highly verbal nature (Andrew Porter’s translation is used) makes it difficult to cast‚ especially the crucial role of “Christine.” Janis Kelly gives an outstanding performance as the volatile wife enraged by a supposed affair involving her husband. Ms. Kelly gives meaning to every word'

Intermezzo‚ Buxton Festival
Stage (July 2012)


'It’s a triumph‚ too‚ for the central figures in the cast‚ especially Janis Kelly‚ who carries the show as Christine‚ Strauss’s own semi-autobiographical depiction of his seriously difficult but ultimately lovable wife. Her nuclear-like reaction on reading a letter apparently intended for her husband written by a dubious female provides the lynchpin of the plot. Also germane to proceedings is her crush on a young Baron she (literally) collides with when out tobogganing. The ever resourceful Kelly is something of a wonder in this huge assignment: vocally secure and dramatically alert to every passing possibility of the text'

Intermezzo‚ Buxton Festival
Sunday Times (July 2012)


'In Stephen Unwin’s stylish 1920s staging (designed by Paul Wills)‚ Janis Kelly is a near-ideal interpreter of the role‚ alive to every nuance of text and character. Most of the role proceeds in quick-fire recitative‚ with some spoken passages‚ until the lyrical outpouring of the final duet‚ for which Kelly saves her most finely spun Straussian singing. Earlier‚ she is not afraid to adopt a shrewish tone with her husband‚ though she lays on the charm with the young‚ impecunious admirer she crashes into on the toboggan run...'

Intermezzo‚ Buxton Festival
Times (July 2012)


'Janis Kelly as Christine Storch (aka Pauline Strauss) has the measure of the work’s unique‚ agitated style of melodic recitative‚ and is indefatigable'

Albert Herring‚ Los Angeles Opera
Daily Breeze.com (March 2012)


'As always‚ they find themselves supplicating to the village’s resident grande dame‚ Lady Billows (sung with steely severity by Janis Kelly). And it is here that the updated setting really weakens the proceedings because it denies Kelly the chance to explore the type of Lady Bracknell/Countess of Grantham excess it so richly deserves'

Albert Herring‚ Los Angeles Opera
ConcertoNet.com (February 2012)


'All cast members are exceptional including the matriarch (Janis Kelly’s Lady Billows)'

Albert Herring‚ Los Angeles Opera
LA Times (February 2012)


'The cast is winning...Another nice touch is that rather than exaggerating Lady Billows’ grandiosity‚ Janis Kelly hints‚ Joan Crawford-like‚ at a slightly sinister side to her character'

Albert Herring‚ Los Angeles Opera
Out West Arts.com (January 2012)


'L.A. Opera does well by Britten’s score and gives the show a huge‚ luxurious production across the board...I’d be remiss in not mentioning some of the others in the cast like Janis Kelly who portrays a rather understated Lady Billows'

Rusalka‚ Grange Park Opera
Opera (August 2011)


'Janis Kelly launched herself at the role of the Foreign Princess with wicked abandon'

Clemency‚ Royal Opera House 2‚ Linbury Theatre
Opera (July 2011)


'...eloquent and moving...'

Rusalka‚ Grange Park Opera
capricciomusic.blogspot (June 2011)


'Janis Kelly made a glamorous and vocally splendid Foreign Princess‚ all sophistication and glitter‚ where Rusalka is childlike simplicity and plainness. She a good comic actress too‚ and was perfect in this role'

Rusalka‚ Grange Park Opera
Stage (June 2011)


'...in terms of drama‚ all the performances register impressively‚ including Janis Kelly’s Joan Collins-like Foreign Princess'

Rusalka‚ Grange Park Opera
Telegraph (June 2011)


'Janis Kelly excelled as the Foreign Princess – a little killer of a role which she both sings and characterises brilliantly'

Rusalka‚ Grange Park Opera
The Arts Desk.com (June 2011)


'...it’s only in the creepy-sophisticated palace of Act II that the more sinister fairytale aspects knit together‚ and very much a definitely-etched lynchpin here is the ever-superb Janis Kelly’s Foreign Princess. Rusalka‚ voiceless in the human world‚ can’t sing to her Prince in this act‚ so another soprano is needed; but Kelly makes a virtue of necessity as a vamp who knows her sensual powers will override the nymph’s other-worldly‚ more innocent charms‚ and her superb phrasing unfolds with a knife-thrower’s certainty of aim'

Clemency‚ Royal Opera House 2‚ Linbury Theatre
Financial Times (May 2011)


'Janis Kelly and Grant Doyle give meaning to their every movement'

Clemency‚ Royal Opera House 2‚ Linbury Theatre
Guardian (May 2011)


'Janis Kelly registers Sarah’s "gratitude and terror" towards God in a performance of considerable power'

Clemency‚ Royal Opera House 2‚ Linbury Theatre
Independent (May 2011)


'...the characterisation is unfailing: Sarah‚ sung by the marvellous Janis Kelly‚ has soaring‚ palpitating and plunging lines as her emotions are buffeted by fear and elation'

Clemency‚ Royal Opera House 2‚ Linbury Theatre
Independent on Sunday (May 2011)


'she is riveting'

Clemency‚ Royal Opera House 2‚ Linbury Theatre
Observer on Sunday (May 2011)


'Space is too short to celebrate in full the week’s other premieres‚ each singular in style but abundant in rewards. James MacMillan’s chamber opera Clemency...and the cast led by Janis Kelly and Grant Doyle were all excellent'

Clemency‚ Royal Opera House 2‚ Linbury Theatre
Stage (May 2011)


'Janis Kelly perceptively reflects the burden of Sarah’s longstanding sterility seemingly as much by what is thought as what is sung'

Clemency‚ Royal Opera House 2‚ Linbury Theatre
Telegraph (May 2011)


'Grant Doyle and Janis Kelly as Abraham and Sarah and Eamonn Mulhall‚ Andrew Tortise and baritone Adam Green as the mysterious visitors make up an ideal cast'

Clemency‚ Royal Opera House 2‚ Linbury Theatre
Whats On Stage.com (May 2011)


'Janis Kelly brings a careworn dignity to the under-written role of his wife‚ Sarah'

Nixon in China‚ The Metropolitan Opera
ABC News.com (February 2011)


'Soprano Janis Kelly was eloquent as Pat Nixon‚ especially in her second-act scene that includes the aria‚ "This is prophetic"'

Nixon in China‚ The Metropolitan Opera
Backstage.com (February 2011)


'Janis Kelly’s Pat Nixon is no Stepford wife‚ but a woman desperately searching for stronger connections to her powerful husband and the world at large. Kelly’s delivery of Pat’s aria‚ "This is prophetic!‚" sung after a series of first lady–type visits‚ is especially moving'

Nixon in China‚ The Metropolitan Opera
Boston Globe (February 2011)


'Wednesday’s cast was strong...Janis Kelly as an excellent Pat'

Nixon in China‚ The Metropolitan Opera
Classical Source.com (February 2011)


'The cast was excellent in this performance...Janis Kelly was very touching as Pat Nixon'

Nixon in China‚ The Metropolitan Opera
Classics Today.com (February 2011)


'Janis Kelly’s Pat Nixon is wonderfully sympathetic and her act two soliloquy is a marvelous piece of self-examination and introspection'

Nixon in China‚ The Metropolitan Opera
CNY cafe Momus.com (February 2011)


'Janis Kelly as Pat Nixon was entirely persuasive as the steadfast ("I don’t daydream and I don’t look back") and apolitical wife of the President‚ and she was indefatigable in her vocal agility. Kelly‚ who like Maddalena looked the part she played‚ navigated the wide-intervallic leaps and pernicious tessitura in the lengthy second-act numbers with resolve. During her "I come from a poor family‚" sung to Chinese school children‚ one had to wonder whether the First Lady would have led a much happier life as a schoolteacher. Compassionate‚ sincere and introspective‚ Pat Nixon is arguably the most complex and three-dimensional of the story’s six principal characters'

Nixon in China‚ The Metropolitan Opera
ConcertoNet.com (February 2011)


'Janis Kelly as Pat Nixon delivered a vocally stunning and enormously touching portrayal. Here was a woman with both a warm heart and an endearing lack of sophistication. Her confusion of illusion (the ballet) and reality was deliciously funny. Kelly’s Pat displayed great tenderness toward her husband‚ most poignantly in her gestures of comfort in act three‚ as he relived memories of his own military service and then of Vietnam and the soldiers he sent to war and to their death'

Nixon in China‚ The Metropolitan Opera
Financial Times (February 2011)


'The cast looked terrific‚ acted with ardour...Janis Kelly a sympathetic Pat Nixon'

Nixon in China‚ The Metropolitan Opera
GB Opera Magazine (Italy) (February 2011)


'Il ruolo della First Lady Pat Nixon è l’epicentro emotivo e musicale della serata. Viene ritratta benevolmente e la sua grandiosa aria: ”This is Prophetic!” è stata cantata con grazia dalla soprano Janis Kelly. I suoi versi finali “Bless this Union…May it Remain Inviolate” sono stati intensamente commoventi. Un membro del pubblico è esploso in entusiastico applauso da solo e c’era da chiedersi se è stato per la musica o per la richiesta che la nazione rimanga unita nonostante le divisioni politiche‚ un sentimento chiaramente attuale nell’odierna scena politica americana'

Nixon in China‚ The Metropolitan Opera
Huffington Post (February 2011)


'Pat Nixon blossomed in the second act where Janis Kelly enlivened the rote visit by a First Lady to a factory and a school with personal memories and a quick but not indulgent thought for the easier life that might have been out of the spotlight'

Nixon in China‚ The Metropolitan Opera
Los Angeles Times (February 2011)


'Janis Kelly gave a world-class performance as Pat Nixon'

Nixon in China‚ The Metropolitan Opera
New Jersey Star Ledger (February 2011)


'The performances‚ like the opera‚ remained ambitious all around‚ pulling together many threads and methods. Soprano Janis Kelly made her house debut as a tender‚ sympathetic Pat‚ who dominated the second act. As the score relaxed into broadly arching phrases for her character and drew in an increasing variety of influences — from late Romanticism to Big Band — the opera simultaneously seemed to have clearer dramatic direction'

Nixon in China‚ The Metropolitan Opera
New York Magazine (February 2011)


'There’s the magnetic Janis Kelly as Pat‚ confessing “I come from a poor family” in a rising arpeggio that rides a cloud of strings‚ a musical literalization of uplift and social mobility'

Nixon in China‚ The Metropolitan Opera
New York Post (February 2011)


'...the audience — which included Nixon’s daughter‚ Tricia Nixon Cox — enjoyed some fine performances‚ particularly that of Scottish soprano Janis Kelly‚ whose lyric voice and flawless American diction lent charm to Pat Nixon. Her dreamy second-act aria‚ “This Is Prophetic‚” proved the evening’s musical highlight'

Nixon in China‚ The Metropolitan Opera
New York Times (February 2011)


'The soprano Janis Kelly‚ in her Met debut‚ was wonderful as Pat Nixon. During the affecting Act II scene in which she is guided by Chinese escorts and journalists to a glass factory‚ a people’s commune and a health clinic‚ she is finally taken to a school. She speaks of coming from a poor family and tells the obliging children that for a while she was a schoolteacher. In Mr. Adams’s tender music‚ as sung by Ms. Kelly‚ you sense Mrs. Nixon wistfully pondering the much different life she might have had'

Nixon in China‚ The Metropolitan Opera
Out West Arts.com (February 2011)


'The rest of the cast had many excellent vocal performances from Robert Brubaker’s Mao and Russell Braun’s Chou En-lai to Janis Kelly’s Pat Nixon'

Nixon in China‚ The Metropolitan Opera
The Arts Desk.com (February 2011)


'...the part now belongs to Janis Kelly another long term operatic warrior perfectly in control both of her dangerously high-lying phrases and of her utterly believable characterisation'

Nixon in China‚ The Metropolitan Opera
Theater Mania.com (February 2011)


'Kelly takes command of the entertaining first scene of the second act during which‚ on Pat’s tour of hospitals‚ grade schools and a pig sty‚ she waxes soprano-philosophical in "I am prophetic" -- a stretch of music that astutely captures the smiling but lost First Lady that she appeared to be to most people'

Nixon in China‚ The Metropolitan Opera
Washington Post (February 2011)


'Janis Kelly did herself proud in her company debut‚ portraying a character‚ Pat Nixon‚ who is even less sure of who she is and why she is there than her husband'

Adriana Lecouvreur‚ Royal Opera House Covent Garden
Classical Source.com (November 2010)


'Of the acting troupe Janis Kelly’s Madamoiselle Jouvenot in particular caught attention'

Adriana Lecouvreur‚ Royal Opera House Covent Garden
MusicalCriticism.com (November 2010)


'As the ensemble of the Comédie‚ Janis Kelly‚ Sarah Castle‚ Iain Paton‚ and David Soar were outstanding'

Adriana Lecouvreur‚ Royal Opera House Covent Garden
MusicOMH.com (November 2010)


'The cast is remarkably strong...Janis Kelly is an ideal Jouvenot'

Adriana Lecouvreur‚ Royal Opera House Covent Garden
The Arts Desk.com (November 2010)


'There’s a relaxed little scene in which her theatrical chums cheer her up - all excellent‚ they’re expertly led by a soprano who’s played the prima donna herself recently‚ Janis Kelly'

Adriana Lecouvreur‚ Royal Opera House Covent Garden
Whats On Stage.com (November 2010)


'There’s a splendid supporting cast that includes Bonaventura Bottone (Abbé de Chazeuil) and Janis Kelly (Mademoiselle Jouvenot)'

TBA Festival 2010: Rufus Wainwright‚ Janis Kelly and the Oregon Symphony
Oregon Music News (September 2010)


'Kelly came out for the remainder of the first half‚ and her commanding presence and clarion diction formed a basis for what was to follow. A heart wrenching aria Quand j’etais jeuene etudiante told the story of her metamorphosis from a fearless music student to an opera singer riddled with anxiety and self-doubt. “Now the music has left me–gone as fast as it came.” Kelly’s voice was hypnotically precise and she displayed a clear mastery of her art. Though the lengthy arias that followed were beautiful‚ the way the segued into one another gave an impression that was somewhat monolithic and ceaselessly sombre; since they were excerpted it was difficult to get a sense of what they may have felt like if heard in context.'

Prima Donna‚ Sadler’s Wells
Financial Times (April 2010)


'As in Manchester‚ Janis Kelly exudes restrained charisma as the prima donna'

Prima Donna‚ Sadler’s Wells
Independent (April 2010)


'...it is a tribute to the marvellous Janis Kelly in the title role that she actually elicits such pathos...'

Prima Donna‚ Sadler’s Wells
Montreal Gazette (April 2010)


'Beautifully orchestrated and with some stunning vocal performances by its small cast - especially Scottish soprano Janis Kelly in the lead role'

Prima Donna‚ Sadler’s Wells
Music OMH (April 2010)


'Janis Kelly is an electrifying Régine. Mature voiced‚ soulful and full of heart-wrenching sorrow‚ there is a Madama Butterfly quality to her performance as she goes to her (metaphorical) death with sadness‚ despair‚ but‚ above all‚ dignity'

Prima Donna‚ Sadler’s Wells
Observer on Sunday (April 2010)


'As the Prima Donna‚ the marvellously versatile Janis Kelly'

Prima Donna‚ Sadler’s Wells
Pink Paper.com (April 2010)


'The part of Régine is expertly handled by Janis Kelly‚ who offers a performance perfectly measured to show the panic and neuroses of a woman consumed with fear about her age‚ talent and relevance in a world that she no longer feels part of'

Prima Donna‚ Sadler’s Wells
Telegraph (April 2010)


'...she gives an alluring and persuasive performance...'

Prima Donna‚ Sadler’s Wells
Telegraph (April 2010)


'She’s perfect for the part‚ and she’s outstanding in it. Nothing that I ever saw her do before was in this class. And I suspect it’s what she’ll ultimately be remembered for'

Prima Donna‚ Sadler’s Wells
The Arts Desk.com (April 2010)


'...a top-notch quartet of singers led by a great if underrated singing actress‚ soprano Janis Kelly...Simple in its range and effect‚ the only "aria" in the show to sound like Wainwright at his authentic best - words excepted - it’s beautifully served by La Kelly'

Prima Donna‚ Sadler’s Wells
This is London (April 2010)


'Janis Kelly — predictably excellent'

Prima Donna‚ Sadler’s Wells
Times (April 2010)


'...the tormented soul of the retired diva Régine Saint Laurent — inhabited magnificently by the Scottish soprano Janis Kelly'

Satyagraha‚ English National Opera
Seen & Heard International (March 2010)


'...the soprano of Janis Kelly is often a powerful and rich aural presence'

Satyagraha‚ English National Opera
Classical Source.com (February 2010)


'Also worthy of special mention is Janis Kelly’s soaring soprano'

Satyagraha‚ English National Opera
Financial Times (February 2010)


'...and Janis Kelly as Mrs Naidoo make an impression among the supporting singers'

Satyagraha‚ English National Opera
Stage (February 2010)


'...in the next scene’s pseudo-quintet‚ Janis Kelly’s Mrs Naidoo proves impervious to strain in the exposed high-lying writing'

Satyagraha‚ English National Opera
Whats On Stage.com (February 2010)


'Also worthy of special mention is Janis Kelly’s soaring soprano'

Gianni Schicchi‚ Royal Opera House
Opera (January 2010)


'Janis Kelly’s Nella was new‚ revealing a voice big enough to ride the top of the ensembles at the Royal Opera House'

Gianni Schicchi‚ Royal Opera House
Stage (October 2009)


'The casts are choice‚ too...with tight playing from everyone on stage‚ the impression is of a perfectly aligned company achievement...and Janis Kelly’s house debut as Nella is very welcome'

Prima Donna‚ Manchester International Festival
Opera (September 2009)


'The fine vocal actress Janis Kelly inhabited the taxing role of Régine with admirable conviction'

Skin Deep‚ Opera North at Bregenz Festival
Times (August 2009)


'Janis Kelly as Lania and Heather Shipp as Donna are powerful sparring partners‚ singing some of Sawer’s most energetic rhythms with dramatic precision'

Prima Donna‚ Manchester International Festival
Bloomberg Press (July 2009)


'Janis Kelly‚ a dramatically focused performer with a clear flexible voice‚ is very good as Regine'

Prima Donna‚ Manchester International Festival
Financial Times (July 2009)


'In the Callas-like title role Janis Kelly gives the performance of her life'

Prima Donna‚ Manchester International Festival
Guardian (July 2009)


'Janis Kelly gives a regal performance as Regine.'

Prima Donna‚ Manchester International Festival
Independent (July 2009)


' Janis Kelly was superb as the prima donna‚ Regine‚ stitching something almost striking out of insubstantial material.'

Prima Donna‚ Manchester International Festival
Independent on Sunday (July 2009)


'Kelly is magnetic throughout: commanding in chest register‚ wistful in "Quand j’étais jeune"‚ sometimes girlish‚ sometimes crone-like. Nonetheless‚ it is ironic that such a hard-working real-life prima donna should be playing this caricature of a diva as though it is the role of her life'

Prima Donna‚ Manchester International Festival
Le Monde (July 2009)


'On sera heureux de réentendre un jour - qui sait ? - en France cet opéra francophone. Mais à condition de ne garder que le meilleur de la distribution (les excellentes Janis Kelly‚ en Régine‚ et Rebecca Bottone‚ en Marie)'

Prima Donna‚ Manchester International Festival
Manchester Confidential (July 2009)


'a staggering performance from Kelly'

Prima Donna‚ Manchester International Festival
MusicOMH.com (July 2009)


'The cast though are universally excellent - Janis Kelly is incredibly convincing as the jaded‚ troubled Regine‚ suitably vulnerable in her scenes with Marie‚ yet capable of turning on the star diva quality when Andre the journalist comes to visit'

Prima Donna‚ Manchester International Festival
New York Times (July 2009)


'Régine‚ Madame Saint Laurent‚ a demanding role performed here with intensity and stamina by the British soprano Janis Kelly'

Prima Donna‚ Manchester International Festival
Observer on Sunday (July 2009)


'...the singing is admirable and expressive‚ led by Scottish soprano Janis Kelly as the flame-haired Régine - her face one moment disfigured with the torments of hell and the next sexy and radiant'

Prima Donna‚ Manchester International Festival
Stage (July 2009)


'Wainwright’s gorgeous melodies are given full vocal reign‚ particularly by Janis Kelly’s Regine'

Prima Donna‚ Manchester International Festival
Telegraph (July 2009)


'Oozing glamour‚ Scottish soprano Janis Kelly plays the diva in Rufus Wainwright’s first opera.'

Prima Donna‚ Manchester International Festival
Telegraph (July 2009)


'Janis Kelly gives her all to a heroic interpretation of the preposterous Regine. '

Skin Deep‚ Opera North
Financial Times (January 2009)


'...and there are excellent contributions from Janis Kelly and Heather Shipp'

Skin Deep‚ Opera North
Stage (January 2009)


'Two performances are pure brilliance - Geoffrey Dolton’s suavely sinister Needlemeier and Janis Kelly’s languid Lania'

Skin Deep‚ Opera North
Times (January 2009)


'And there are spirited performances from...Janis Kelly‚ spouting furious cascades of coloratura as his enraged wife'

Rusalka‚ Grange Park Opera
Financial Times (July 2008)


'This is all very diverting‚ but it wouldn’t work without a cast that sings as convincingly as it acts....The glamour-quotient rises whenever Janis Kelly’s Foreign Princess struts the stage'

Rusalka‚ Grange Park Opera
Sunday Times (July 2008)


'Anthony McDonald wins riveting acting performances from Anne Sophie Duprels (Rusalka)‚ Jeffrey Lloyd Roberts (the prince)‚ Janis Kelly (the foreign princess) and Clive Bayley (the water sprite)'

Rusalka‚ Grange Park Opera
Times (July 2008)


'McDonald wins riveting acting performances from Anne Sophie Duprels (Rusalka)‚ Jeffrey Lloyd Roberts (the prince)‚ Janis Kelly (the foreign princess) and Clive Bayley (the water sprite). Stephen Barlow obviously loves the score and extracted fine playing from an enlarged English Chamber Orchestra. A few more strings might have brought lusher textures‚ but this was GPO operating at the top of its game'

Rusalka‚ Grange Park Opera
Guardian (June 2008)


'Janis Kelly delivers the Foreign Princess with superb hauteur'

Rusalka‚ Grange Park Opera
Sunday Telegraph (June 2008)


'Janis Kelly was majestically malign as the rival Princess in Act II‚ singing with style and nuance to spare'

Turandot‚ Dorset Opera
Sunday Times (July 2007)


'Janis Kelly’s Liu was spellbindingly sung and heartrending. '

Falstaff‚ Grange Park
Independent (June 2007)


'The ensemble holds firm‚ with...Janis Kelly a sharply catty Alice.'

Falstaff‚ Grange Park
Independent on Sunday (June 2007)


'Janis Kelly is quick-witted and warm.'

Falstaff‚ Grange Park
Times (June 2007)


'Janis Kelly is a wonderful Alice‚ vivacious yet capable in the seduction scene of signalling far more complex emotions.'

Satyagraha‚ ENO
ClassicalSource.com (April 2007)


'Janis Kelly’s expressive soprano – soaring ecstatically to the heights on occasions.'

Satyagraha‚ ENO
Financial Times (April 2007)


'Alan Okes mellifluous Gandhi sang with unarguable clarity‚ as did ENO stalwarts such as Janis Kelly.'

La Rondine‚ Opera North
The Herald (June 2006)


'Janis Kelly gave a beautiful performance as Magda ‚ both dramatically and vocally.'

La Rondine‚ Opera North
Yorkshire Post (June 2006)


'Janis Kelly has reached that time in life when she both looks and acts the role to perfection‚ and we have never heard her voice in such fine shape.'

Nixon in China‚ ENO
Financial Times (June 2006)


'Janis Kelly’s Pat is a similar triumph.'

Nixon in China‚ ENO
musicOMH.com (June 2006)


'Janis Kelly does a mean Pat impersonation...in wonderful voice‚ coping well with the occasional excursions into the tonal stratosphere.'

Nixon in China‚ ENO
Telegraph (June 2006)


'From an altogether superb cast‚ I would single out Janis Kelly’s touching Pat Nixon.'

Nixon in China‚ ENO
The Stage (June 2006)


'Janis Kelly’s ever-smiling‚ oddly touching Pat Nixon. '

Nixon in China‚ ENO
Times (June 2006)


'Best of all... and Janis Kelly‚ uncannily lifelike and touchingly vulnerable as the Nixons.'

La Rondine‚ Opera North
music OMH.com (May 2006)


'..she was singing with a gloriously full tone and tastefully controlled portamento. This was a heartfelt characterisation‚ reminiscent of her memorable portrayals of both Violetta and the Marchallin (in Strauss Der Rosenkavlier‚ from which Puccini took inspiration); one simply could not take ones eyes off her.'

La Rondine‚ Opera North
Spectator (April 2006)


'Janis Kelly‚ singing with ravishing tone and looking superb.'

La Rondine‚ Opera North
Telegraph (April 2006)


'As the repentant courtesan Magda‚ that consummate actress Janis Kelly negotiates the music skilfully.'

La Rondine‚ Opera North
The Observer (April 2006)


'La Rondine...remains in pristine shape‚ largely thanks to the central performance of Janis Kelly‚ still lustrous of voice.'

La Rondine‚ Opera North
The Stage (April 2006)


'Janis Kelly returns as Magda‚ her masterly‚ understated portrayal the evenings emotional epicentre. She brings a long-breathed elegance to Puccinis soaring vocal lines‚ while her acting is rich in detail. I love the way she cradles Pruniers head in her hands as he calls her Salome.'

La Rondine‚ Opera North
Times (March 2006)


'Janis Kelly assumes the role of Magda‚ the Parisian courtesan in search of true love...theres no change in Kellys superb ability to act and sing in tandem‚ and express emotions beyond the librettos surface. How forlorn she looks once she stops imitating the swallows flight near the end of Act I; and for piercing anguish‚ her final despair among Bruno Schwengl s blistering white Riviera set — De Chirico meets a Dulux advert — takes some beating. The voice has its steely quality‚ though full-throated ardour emerges for rapturous duets with Rafael Rojass Ruggero‚ Magdas new capture and hope.'

Xerxes‚ ENO
Opera (February 2006)


'She has a show-stopping entry in Act 1‚ and the intensity and artistry of her performance never let up.'

Memorial Gala‚ Wigmore Hall
Evening Standard (January 2006)


'Outstanding was Janis Kelly’s Surabaya Johnny which I have never heard surpassed for its blend of incandescent rage and heartbreak.'

Xerxes‚ ENO
ConcertoNet.com (December 2005)


'Janis Kelly’s Romilda...was feisty and adorable.'

Xerxes‚ ENO
Musical Pointers (December 2005)


'Janis Kelly keeps Xerxes in thrall as Romilda.'

Xerxes‚ ENO
Observer (November 2005)


'Janis Kelly as Romilda sparkles in her fiercely difficult set pieces.'

Xerxes‚ ENO
Sunday Independent (November 2005)


'Arguably the most interesting performance comes from Janis Kelly as Romilda....her finely detailed acting and musically insightful singing go right to the heart of both character and score. She manages to inject emotional reality into the most fanciful situations.'

Xerxes‚ ENO
Terra (November 2005)


'La soprano Janis Kelly‚ en el papel de la bella Romilda‚ por quien compiten los dos hermanos‚ exhibe dominio vocal y‚ al igual que sus compañeros‚ gran claridad de dicción.'

Xerxes‚ ENO
Times Online (November 2005)


'Janis Kelly’s spitfire runs as the lovesick Romilda are married to an acute sense of stagecraft.'

Maria Stuarda‚ Grange Park Opera
Guardian (June 2005)


'Janis Kelly‚ singing equally strongly as Elizabeth‚ managed to make one half-sympathise for a moment with the totally disagreeable character devised by the librettist‚ Giuseppe Bardari.'

Maria Stuarda‚ Grange Park Opera
Music & Vision (June 2005)


'It says much for Kelly’s fine acting skills that she made much of the little Donizetti gave her and succeeded in creating a powerfully drawn Elizabetta without relying overmuch on caricature. Kelly can spin a fine vocal line and imbue it with meaning; every word of her dialogue told... It is a measure of Kellys stature as an artist that she found a way into the music that was expressive and suited her distinctive vocal attributes whilst doing justice to Donizettis artistry and never doing violence to musical style.'

Maria Stuarda‚ Grange Park Opera
Times (June 2005)


'Grange Park is lucky once again to have an artist of this calibre.'

Semele‚ ENO
Independent (November 2004)


'...the always excellent Janis Kelly...'

Semele‚ ENO
Times (November 2004)


'Janis Kelly camps Iris up something terrible.'

The Enchantress‚ Grange Park Opera
Guardian (June 2004)


'Janis Kelly is totally compelling as Nastasia‚ making the smallest gesture count and perfectly catching her mixture of hard-bitten cynicism and touching vulnerability; her duet with Jeffrey Lloyd-Robertss ardent Yuri is the operas emotional watershed.'

The Enchantress‚ Grange Park Opera
Independent (June 2004)


'...sings with utter conviction and passion‚ Kelly moderating her supple tone to her sympathetic doomed role.'

The Enchantress‚ Grange Park Opera
Sunday Times (June 2004)


'...the wonderful Janis Kelly as Nastasia‚ wittily tarty in her kinky boots and leather miniskirt‚ sounds like a dramatic soprano‚ which she isnt in this context.'

The Enchantress‚ Grange Park Opera
The Stage (June 2004)


'Janis Kelly‚ one of the most resourceful actresses on the British operatic stage today‚ engages at every level with the mature‚ worldly-wise but vulnerable Kuma.'

The Seasons‚ Halifax Choral Society
Halifax Today (March 2004)


'With a vibrant‚ well-controlled soprano voice Janis Kelly sang the role of Hannah with fine dramatic effect.'

La Traviata‚ Opera North
Observer (October 2003)


'One of the most moving Violettas I have seen‚ Janis Kelly manages to remain in thrilling voice while emoting her way through the versatile performance the part demands‚ dazzling as the first acts sultry courtesan‚ harrowing in the grim finale. '

La Traviata‚ Opera North
Sunday Times (October 2003)


'...even more heart-rending as the consumptive heroine than she was in 1999...which this singing actress of near genius turns to her advantage.'

La Traviata‚ Opera North
Guardian (September 2003)


'Janis Kelly’s Violetta‚ singing through tuberculosis. is truly sensational.'

La Traviata‚ Opera North
Sunday Telegraph (September 2003)


'... the outstanding reason to seek it out is Janis Kelly’s Violetta. It is not only supremely sung - her voice is just the right size for this theatre - but is superbly acted..'

Idomeneo‚ Opera North
Bolton Evening News (February 2003)


'A flawless performance by the magnificent Janis Kelly.'

Idomeneo‚ Opera North
Liverpool Daily Post (February 2003)


'Janis Kelly as Electra was superb. Seductive when she needed to be‚ almost terrifying when enraged.'

Idomeneo‚ Opera North
Manchester Evening News (February 2003)


'Janis Kelly was vocally and dramatically vivid as Electra.'

Idomeneo‚ Opera North
The Independent Review (February 2003)


'...outstanding individual performance came from Janis Kelly as Electra...She presented an absorbing and sympathetic study in emotional and sexual frustration and self-deception.'

Idomeneo‚ Opera North
The Stage (February 2003)


'Janis Kelly is a formidable Electra.'

Idomeneo‚ Opera North
Yorkshire Evening Post (February 2003)


'As Electra‚ the dramas resident Fatal Attraction bunny boiler‚ Janis Kelly follows her superb Marschallin in Der Rosenkavalier with another compelling performance.'

Idomeneo‚ Opera North
Ilkley Gazette (January 2003)


'The ever-watchable Janis Kelly is in scorching form as Electra.'

Idomeneo‚ Opera North
The Guardian (January 2003)


'...her bile-spitting final aria is a true showstopper.'

Der Rosenkavalier‚ Opera North
Manchester Evening News (November 2002)


'The main thing is the music...Above all‚ it glows in Janis Kellys wonderful performance as the Marschallin‚ crystal clear and noble.'

Der Rosenkavalier‚ Opera North
Opera (November 2002)


'Kelly has a magnetic stage charisma.'

Der Rosenkavalier‚ Opera North
Sunday Telegraph (November 2002)


'Janis Kelly’s Marschallin is a compelling interpretation‚ beautifully sung.'

Der Rosenkavalier‚ Opera North
Daily Telegraph (October 2002)


'Janis Kelly is every inch the Marschallin.'

Der Rosenkavalier‚ Opera North
Darlington & Stockton Times (October 2002)


'The Marschallin was given a superbly thoughtful and pensive performance by Janis Kelly.'

Der Rosenkavalier‚ Opera North
Guardian (October 2002)


'At the heart of all this is one remarkable performance. Janis Kellys Marschallin is steely yet vulnerable‚ searingly honest‚ complex and ultimately heartbreaking...it is hard to imagine anyone giving a more complete and moving performance. This is a fine Rosenkavalier; Kelly makes it outstanding.'

Der Rosenkavalier‚ Opera North
Sunday Times (October 2002)


'All good Rosenkavaliers require a classy Marschallin‚ and Janis Kellys remarkable first assumption of the role is a complete success in this context. Exquisitely delicate in feature and form... she commands the stage as a figure of grace‚ wit‚ big-heartedness and authority. She understands the nostalgic‚ wistful aspect of the Marschallins character without indulging in maudlin sentimentality. This is an unmissable performance from one of our finest singing actresses.'

Der Rosenkavalier‚ Opera North
The Stage (October 2002)


'Hers is an utterly involving portrayal with every word and phrase delivered so as to touch the heart.'

Der Rosenkavalier‚ Opera North
Times (October 2002)


'She is heart-stopping at the close of Act 1 as she internalises the womans sense of resignation‚ and the aching directness of her performance is helped by verbal clarity.'

Der Rosenkavalier‚ Opera North
York Post (October 2002)


'Singing the role for the first time‚ Janis Kellys Feldmarschellin moves effortlessly‚ both vocally and visually‚ from the opening act bedroom scene of sexual infatuation with Octavian‚ to the stately finale‚ where the realisation of the passing of her youth paints for her a sad picture of age.'

Turn of the Screw‚ Grange Park
Opera (September 2002)


'Janis Kellys sexy‚ brilliantly-acted‚ keenly-sung Miss Jessel was another remarkable self-reinvention by this amazingly versatile artist‚ almost unrecognisable as the impudent veteran Despina of ENOs recent Cosi fan Tutte.'

Turn of the Screw‚ Grange Park
Daily Telegraph (July 2002)


'Janis Kelly and Clarissa Meek gave vivid characterisations of Miss Jessel and Miss Grose.'

Turn of the Screw‚ Grange Park
Guardian (July 2002)


'Janis Kelly characterises strongly as Miss Jessel‚ a malevolent force.'

Turn of the Screw‚ Grange Park
Sunday Times (July 2002)


'Janis Kelly’s glamorous‚ icily sung Miss Jessel is another remarkable self-reinvention by this extraordinary chameleon of an artist‚ barely recognisable as the impudent veteran Despina of ENOs recent Cosi fan Tutte.'

Cunning Little Vixen‚ Opera North
Daily Telegraph (September 2001)


'Janis Kelly’s Vixen boasted bags of vitality and charm.'

Cunning Little Vixen‚ Opera North
Guardian (September 2001)


'Janis Kelly is a glorious Vixen - an alluring‚ sexy-voiced hothead‚ who yields to Giselle Allens butch Fox with erotic glee.'

Cunning Little Vixen‚ Opera North
Independent (September 2001)


'...really extraordinarily accomplished. Her singing was radiant‚ and the scenes with the Fox‚ Giselle Allen‚ were rapturous. '

Cunning Little Vixen‚ Opera North
Stage (September 2001)


'Janis Kelly’s wonderful vixen - resourceful‚ seductive‚ created with a subtle range of nuances and effects. She sings out bravely and affectingly. what an incomparable artist.'

Cunning Little Vixen‚ Opera North
Sunday Telegraph (September 2001)


'Janis Kelly is among the most versatile of our sopranos and brings an extra-special touch of character to every role she undertakes. Her Vixen is a brilliant portrayal‚ teasing‚ amorous.'

Cunning Little Vixen‚ Opera North
Sunday Times (September 2001)


'Janis Kelly lithe and eloquent in the title role.'

Cosi fan tutte‚ Grange Park
Independent (June 2001)


'…This was her directing debut. Mozart and Rossini companies should sign her up quick; Kelly has an eye for detail crossing Benny Hill with Tati‚ a feel for character and subject and a tangible loyalty to the score.'

Cosi fan tutte‚ Grange Park
Stage (June 2001)


'This is soprano Janis Kellys first-ever venture into direction‚ and it looks like she now has two successful careers on her hands.'

La Rondine‚ Opera North
Independent (October 2000)


'Janis Kelly achieves another triumph of singing and characterisation. Here is a singing actress who has such natural grace and emotional eloquence that she cannot fail to touch the heart.'

La Rondine‚ Opera North
Stage (October 2000)


'Janis Kellys Magda is a portrait of masterly understatement‚ her every emotion transmitted with expressive economy‚ Puccinis soaring vocal lines limbed with long-breathed elegance. Hers is a performance which would grace any major opera house in the world.'

La Rondine‚ Opera North
Sunday Telegraph (October 2000)


'Magda was sung with glorious freedom by Janis Kelly‚ who follows her exceptional Violetta for this company with this equally sensitive and perceptive portrayal of a fallen‚ but less tragic woman.'

La Rondine‚ Opera North
The Sunday Times (October 2000)


'If Magda lacks the stature of La traviata‚ you would hardly know it from the heart-rending performance of Janis Kelly in the Leeds staging. Her voice is slender‚ but she sings and acts her heart out with spellbinding grace and intensity‚ and phrases with an instinctive understanding of Puccinian style.......The Royal Opera has plans for a staging mounted around the Alagnas: they will have their work cut out to move me as much as Kelly and Pita did. '

La Rondine‚ Opera North
The Times (October 2000)


'If anyone can make you believe in- or care about- the heroine it would be Janis Kelly‚ an actress as much as a soprano‚ one who doesnt let her concentration lapse for a second. The way she listens to someone elses solo turns it into a duet‚ and her blinking back tears in the last act would (almost) melt the heart of a critic. There is a certain fragility to her tone that suits the role. '

Alcina‚ English National Opera
Independent (June 2000)


'Kellys performance was a dramatic triumph‚ effortlessly making you believe in the sorceress dangerous magic.'

Nixon in China‚ English National Opera
Guardian (June 2000)


'Janis Kelly brings real pathos out of Pat Nixon.'

Nixon in China‚ English National Opera
Independent (June 2000)


'The excellent Janis Kelly beautifully conveys the fixed smile of one who can never quite believe she is First Lady but has come to rather enjoy it.'

Nixon in China‚ English National Opera
Observer (June 2000)


'...Pat (an excellent Janis Kelly).'

Nixon in China‚ English National Opera
Seen and Heard (June 2000)


'Kellys singing is wonderful.'

Nixon in China‚ English National Opera
Spectator (June 2000)


'...admirably acted and sung by Janis Kelly.'

Nixon in China‚ English National Opera
Sunday Times (June 2000)


'Janis Kellys brilliantly conceived Pat Nixon...had paint-stripping powers of projection to draw on'

Nixon in China‚ English National Opera
Telegraph (June 2000)


'Pat Nixon (Janis Kelly) is movingly portrayed.'

Nixon in China‚ English National Opera
The Week (June 2000)


'Perhaps the most sympathetic portrayal is that of Pat Nixon‚ played by an excellent Janis Kelly‚ who in a moving aria speculates on lifes dreams and regrets. '

Nixon in China‚ English National Opera
Times (June 2000)


'Janis Kelly is supremely touching as Pat Nixon.'

La Traviata‚ Opera North
Opera (November 1999)


'The unlikely heroine‚ making her debut as Violetta‚ was Janis Kelly‚ unlikely because hers is not the conventional sound for the role. But one should never underestimate the sheer power of musicality. Instead of a glorious climax at her rural farewell to her lover‚ Amami‚ Alfredo was a tearful prayer that spoke of a multitude of forebodings‚ momentarily disappointing if you were expecting something bigger‚ but absolutely in keeping with the tear-stained conversation that preceded it. Most riveting of all was her attitude to death. So often at this point we hear singing that is all too healthy‚ at odds with Violettas pallid makeup and physical frailty. Here‚ however‚ voice and vision were all of a piece. Of course‚ it helps that Miss Kelly is petite and her tone beautifully focussed. By virtue of an orchestra that reined back marvellously‚ she was able almost to whisper‚ so drawing in her audience. Her suffering‚ as she dragged herself over the bed‚ was almost too painful to watch. Yet we dared not look away. The superhuman final effort to stand and embrace Alfredo meant that she died as he lifted her off her feet‚ her head flopping straight back. Here was courage that one could never question‚ whether in the drama or in the singer herself. '

La Traviata‚ Opera North
Daily Mail (October 1999)


'Janis Kelly as a fragile but feisty Violetta‚ a tart with soul as well as heart '

La Traviata‚ Opera North
Daily Mail (October 1999)


'but these are two fine singing actors at the peak of their powers '

La Traviata‚ Opera North
Evening Standard (October 1999)


'Janis Kellys mature‚ intelligent Violetta . is an unforgettable touching portrayal right the way through - not just in her intensely moving death scene. '

La Traviata‚ Opera North
Financial Times (October 1999)


'The success of La traviata was honesty of the two principals‚ Janis Kelly and Tom Randle‚ and the compact beauty of the whole enterprise '

La Traviata‚ Opera North
Observer (October 1999)


'One singer should be exempted from criticism: Janis Kelly may not be an innate Verdian‚ but her portrayal of Violetta is so minutely nuanced that it becomes difficult to look away‚ even when she is not singing. '

La Traviata‚ Opera North
Observer (October 1999)


'her portrayal of Violetta is so minutely nuanced that it becomes difficult to look away‚ even when she is not singing. Her dignity as Alfredo throws his money at her is heartbreaking‚ while her death‚ bloodstained bed-sheets and all‚ is as distressing as Verdi could have wished. '

La Traviata‚ Opera North
Express (September 1999)


'Janis Kelly‚ though‚ is the real thing.'

La Traviata‚ Opera North
Express (September 1999)


'she builds a deeply affecting portrayal of fragile strength and rightly received a rapturous ovation on opening night. '

La Traviata‚ Opera North
Financial Times (September 1999)


'This was very much Janis Kellys Violetta‚ not a second-hand copy of anybody elses.'

La Traviata‚ Opera North
Guardian (September 1999)


'Kellys performance‚ . is compelling. '

La Traviata‚ Opera North
Guardian (September 1999)


'she touches the core of Violettas personality‚ with the slightest movement here‚ a beautifully shaded moment there. '

La Traviata‚ Opera North
Independent (September 1999)


'And at the heart of this production stands the truly wonderful Violetta of Janis Kelly. What an intelligent and accomplished actress she is‚ both vocally and physically. Verdi would surely have appreciated her performance. '

La Traviata‚ Opera North
Independent (September 1999)


'she invests every phase and gesture with what he valued most - dramatic truth. She was able to make even silences - the pauses in Sempre libera‚ for example - truly meaningful. '

La Traviata‚ Opera North
Independent (September 1999)


'Of course‚ this is a gift of a part to the singing actress who can encompass its great dramatic and emotional range. But how many can? Kelly made Violettas decline‚ from brittle brilliance in the first act to the haggard‚ wasted wrech of the last‚ utterly convincing‚ both visually and vocally. The operas end - her death - was as chilling and devastating as it should be. '

La Traviata‚ Opera North
Sunday Telegraph (September 1999)


'This is one of the best-acted Traviatas you could hope to see. Janis Kellys Violetta is a wonderful performance‚ dramatically and vocally. '

La Traviata‚ Opera North
Sunday Telegraph (September 1999)


'this is a Violetta that no one should miss '

La Traviata‚ Opera North
Sunday Telegraph (September 1999)


'dignified and vulnerable in the encounter with Germont père; her declaration of love - Amami‚ Alfredo - when she prepares to leave is heartrending. '

La Traviata‚ Opera North
Sunday Telegraph (September 1999)


'She is adorable in the first scene '

La Traviata‚ Opera North
Telegraph (September 1999)


'Janis Kellys Violetta is no befrilled‚ golden-hearted courtesan with an occasional cough‚ but a brave and desperate woman who has clearly fought for her independence and doesnt surrender it easily. Her historical original‚ Marie Duplessis‚ was a crafty peasant‚ and Kelly never forgets this‚ kicking off her shoes the moment that she is alone‚ and striking her fatal bargain with Germont without illusions or sentimentality. '

La Traviata‚ Opera North
Telegraph (September 1999)


'Her love for Alfredo seems almost maternal. She is older and wiser than he is‚ and she knows that she is asking for trouble by falling for him. On her deathbed‚ she seems to cling to life by her fingernails. I have never seen a Violetta more intensely terrified of her illness or heard one more audibly gasping for breath. '

La Traviata‚ Opera North
Telegraph (September 1999)


'how richly she characterises the music‚ how responsive she is both to the text and to the scores dynamic markings. This Violetta is supremely honest‚ in what she does and what she sings. '

La Traviata‚ Opera North
Telegraph (September 1999)


'Kellys magnificent performance - it is hard to believe that this is her debut in the role‚ so completely does she inhabit it - blazes at the centre of Opera Norths powerful new production '

La Traviata‚ Opera North
Times (September 1999)


'Janis Kelly’s Violetta doesn’t take her fate lying down; there are flashes of anger at Father Germonts outrageous demands‚ flaming resentment before she bows to the inevitable‚ or what the 19th century was as the inevitable. She doesnt faint operatically when Alfredo humiliates her in public‚ but stands shaking with rage. She even rages at her own weakness when at deaths door. This is a stunning‚ fresh- minted‚ deeply felt impersonation‚ rightly greeted with an ovation at curtain-fall. '

Parsifal‚ ENO
Evening Standard (February 1999)


'Janis Kelly’s alluring first Flowermaiden '

Die Fledermaus‚ Opera Ireland
Irish News (November 1998)


'It was well cast and drew winning performances from Janis Kelly (Rosalinde)‚ '

Die Fledermaus‚ Opera Ireland
Irish Times (November 1998)


'Whenever she was singing the emotional tension moved up a notch. '

Die fledermaus‚ Opera Ireland
Sunday Independent (November 1998)


'Janis Kelly the undeniable star of the show. As Rosalinde‚ she sang and acted the part in splendid style and was always credible in the part '

La finta semplice‚ Buxton Festival
The Guardian (July 1998)


'Rosina’s ermine wraps mark her out as a femme du mond‚ and Janis Kelly triumphs in the part‚ spinning out the taxing vocal lines with sumptuous assurance; it is an outstanding performance in a show where no one‚ musically‚ puts a foot wrong. '

La finta semplice‚ Buxton Festival
The Times (July 1998)


'Janis Kelly rises radiantly to the challenge of Rosinas two showstoppers '

The Marriage of Figaro‚ Opera North
The Sunday Telegraph (May 1996)


'Janis Kelly’s Countess was perceptive and sensitively sung '


tE oMD (January 0)


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Clemency‚ Royal Opera House 2‚ Linbury Theatre
Opera (January 0)


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