Otello — Oper Frankfurt

Frankfurter Rundschau

“Desdemona aber ist durch Emilias Arglist in Frankfurt natürlich besonders allein … das Schwesterchen ist das schändlich gut gelaunte und mit bravourös reifer Stimme singende Opernstudiomitglied Kelsey Lauritano.” (Of course, Desdemona is especially alone because of Emilia's malice in Frankfurt ... the sister is the shamefully good-humored, bravely mature voiced Opernstudio member Kelsey Lauritano.) —Judith v. Sternenburg

Der Opernfreund

“Nach der ersten Talentprobe in Menottis Medium macht erneut Kelsey Lauritano mit ihrem samtig-warmen und dabei jugendlich-blühenden Mezzosopran in der kleinen Rolle der Emilia auf sich aufmerksam. Kaum zu glauben, daß sie gerade erst ins Opernstudio aufgenommen wurde. Diesem scheint sie bereits jetzt entwachsen zu sein. (After the first talent showcase in Menotti's Medium, Kelsey Lauritano once again draws attention to herself with her velvety-warm and youthfully-flourishing mezzo-soprano in the small role of Emilia. It's hard to believe that she was just admitted to the opera studio. She already seems to have outgrown it.) —Michael Demel

Klassik.com

“Erfrischend quirlig mit strahlendem Mezzo verlieh Kelsey Lauritano der Schwester Emilia Profil.” (Kelsey Lauritano bestowed to the sister Emilia’s profile a refreshingly lively, beaming mezzo.) — Christiane Franke

Oper Aktuell

“Emilia (ganz hervorragend gesungen und gespielt von Kelsey Lauritano) ist nicht mehr die Freundin und Vertraute Desdemonas, sondern wird zur kleinen, fiesen und falsch spielenden Schwester…” (Emilia, excellently sung and played by Kelsey Lauritano, is no longer the friend and confidante of Desdemona, but becomes a small, nasty and wrong-doing sister...) —Kaspar Sannemann

Revier Passagen

“Nino Machaidze kann als Desdemona in ihrem ersten Auftritt in einem Duett mit der jugendlich strahlend singende Emilia von Kelsey Lauritano…” (Nino Machaidze as Desdemona in her first appearance in a duet with the youthfully radiant singing Emilia of Kelsey Lauritano…) —Werner Häußner

Teatrionline

“Kelsey Lauritano si cala perfettamente nella parte della sorellina Emilia, una fraschetta intrigante che alla fine trionfa e sposa il giovane Rodrigo, accedendo a nobiltà e potere.” (Kelsey Lauritano falls perfectly into the part of the little sister Emilia, an intriguing, vain girl who eventually triumphs and marries the young Rodrigo, accessing nobility and power.) —Stefano L. Borgioli


The Medium — Oper frankfurt

IOCO Kultur im Netz

“Kelsey Lauritano beeindruckt mit schöner Stimme und ebenso versiertem Spiel.” (Kelsey Lauritano impresses with a beautiful voice and equally accomplished acting.) — Ljerka Oreskovic Herrmann

Online Merker

“Kelsey Lauritano gibt mit sehr wohltimbriertem Mezzo die Mrs. Nolan…” (Kelsey Lauritano plays Mrs. Nolan with a very well-timbered Mezzo…) —Friedeon Rosén


Marilyn Horne Song Competition Winner’s Recital Tour

New York Classical Review

“The evening started with a quick Schubert set: Lauritano brought a lovely, focused sound in “Ganymed,” a mezzo of clear amber color, rich without heaviness. She showed off a warm soft voice and firm lower register in “Du bist die Ruh,” followed by nimbleness in “Suleika I.”

What is most impressive is her approach: there is clear expressive intent behind every choice she makes. She communicates so much with a small vocal inflection, a quickening of vibrato towards the climax of a phrase, or a harder attack on a consonant to signal excitement.

Ravel’s Histoires naturelles offered her a chance to be more dramatic in her presentation, drawing enchanting character portraits of Jules Renard’s animals. In the hands of a singer so in tune with text as Lauritano, these are rich works: she gave the songs a narrative touch, bringing out the smooth confidence of the peacock, the fleeting wit of the cricket, the grace of the swan. She sang with perfect control, precisely modulating both pace and dynamics, without ever losing her conversational interpretative ease.” —Eric C. Simpson

Ars Raving Mad

“Kelsey Lauritano is a vocal empath. More than that, she is a conduit for the emotion of a song; she makes everyone else empathize with the characters in the music. The young mezzo-soprano has a supple voice, but it isn’t really just the one aspect that makes her performance stand out. It’s the whole package.

Her’s is the level of preparedness and easy technique that makes you forget about the singing. It actualizes and elevates the music and the poetry, and doesn’t boast in its depth and agility (though she has those qualities in spades).

It made me question what I thought I knew about my musical tastes. I never remembered much enjoying Ravel’s Histoires Naturelles before having heard it tonight. During the Ricky Ian Gordon debut Without Music, people were actively sobbing behind me; almost to the point of distraction. This is the kind of effect that Lauritano wove throughout the whole 90 minutes.” —Cullen Gandy


I PURITANI — OPER FRANKFURT

Opera secondo me

“Voglio menzionare Kelsey Lauritano, che cantava Enrichetta, la regina d’Inghilterra: ha una voce di mezzo-soprano calda e vellutata. La proiezione nel registro di petto era notevole: la sentivi anche in mezzo al casino più totale, con coro e orchestra a tutta canna. È molto giovane, viene dall’Opernstudio di Francoforte, e penso che dovrò tenerla d’occhio. O d’orecchio.” (I want to mention Kelsey Lauritano, as Enrichetta, the Queen of England: she had a very warm, velvety mezzo voice. Her projection in the middle register was remarkable: you could hear her even in the middle of the ensembles, with chorus and orchestra at full throttle. She is very young, she comes from the Opernstudio at Frankfurt, and I think we need to keep an eye (or rather an ear) on her.) —Giulia Tonelli


Alcina — BOSTON EARLY MUSIC FESTIVAL

The New York Times

“The benevolent sorceress Melissa (sung on Tuesday with warmth and heroism by the mezzo-soprano Kelsey Lauritano)…” —Joshua Barone

Opera News

“Juilliard-trained contraltoish mezzo Kelsey Lauritano endowed Melissa with remarkable beauty of tone and keen dynamic gradations.” —David Shengold

The Boston Globe

“No better voice than mezzo Kelsey Lauritano’s could be conjured for the gender-bending sorceress Melissa; her enviable low range and resonant, daringly raw chest voice were sublime.” —Zoë Madonna

The Boston Musical Intelligencer

“Mezzo soprano Kelsey Lauritano was ideally cast for the role, with a powerful voice that maintained its clarity even in her lowest range.” —Virginia Newes


Hippolyte et Aricie — jUILLIARD OPERA

Wall Street Journal

"...the performers made a solid impression overall...Kelsey Lauritano's dark, eloquent mezzo made for a potent Diane" —Heidi Waleson

Opera Wire

"Kelsey Lauritano, as Diane, also established herself in this scene with a superior stance in her role and a beautifully rich vocal tone. She personified Diane throughout the entire opera with outstanding acting skills that fueled her passionate connection to the music and highlighted her unwavering vocal technique. Lauritano was a true inspiration to be witnessed in this role." —Jennifer Pyron

Parterre Box

"Kelsey Lauritano’s interestingly dusky mezzo and authoritative stage presence combined for a commanding Diane" —Christopher Corwin


L'ENFANT ET LES SORTILÈGES — jUILLIARD OPERA

Opera News

“As the Child, Kelsey Lauritano used her buoyant mezzo-soprano to move from gleeful petulance to heartfelt contrition. Through her attentive listening, she drew the audience into the depth of the Child’s hurt and vulnerability, keeping us on her side as her world spun out of control. ”

Broadway World

“Mezzo Kelsey Lauritano was in full control--and fine voice--as the title character, crossing the fine line between mischievous and evil, until coming to her senses at the end.” —Richard Sasanow


LA RESURREZIONe — BOSTON EARLY MUSIC FESTIVAL

Boston Globe

"...this oratorio’s most wonderful surprise was the BEMF debut of an exceptional young mezzo-soprano. As Mary Cleophas, Juilliard graduate student Kelsey Lauritano showed off a rippling wine-dark voice with a low range of staggering strength, combined with a splendid stage presence...May this be the first of many BEMF appearances for her." —Zoë Madonna

Bachtrack

“More of a treat is to hear a remarkable voice for the first time. Kelsey Lauritano, a Juilliard graduate student making her BEMF debut as Cleofe, has a mezzo soprano so unique that it almost defies description. It’s like a single malt – smoky, rich, layered, and complex. Her lower range is unusually solid and rounded, with no loss of volume as it descends and her timbre is a singular mix of the masculine and feminine. Wed all that to a winning presence and a solid technique and you have a singer to watch and to welcome back.” —Kevin Wells


Flight — JUILLIARD OPERA

Opera News

"Dimitri Katotakis, as the Steward, stood out, singing with ringing heroism, matched in wondrous power by Kelsey Lauritano, as the Stewardess. The two had a comfy comic rapport." —Henry Stewart

Broadway World

"The cast was uniformly top-drawer, showing good comic chops along with fine vocal training, with Darrah helping them to show their individuality rather than simply be archetypes. For example, baritone Dimitri Katotakis and mezzo Kelsey Lauritano are expert singer-farceurs, as the Steward and Stewardess..." —Richard Sasanow