Die Banditen - Oper Frankfurt (2024)
Der Opernfreund
"In the trouser role of her lover, Kelsey Lauritano once again demonstrates the ideal combination of tomboyish acting and an attractive mezzo voice after the fabulous Cherubino in Figaro at the beginning of the season." / “In der Hosenrolle ihres Geliebten zeigt Kelsey Lauritano nach dem fabelhaften Cherubino im Figaro zum Beginn der Spielzeit erneut die ideale Verbindung von burschikosem Spiel und einer attraktiven Mezzostimme.” —Michael Demel
Frankfurter Allgemeine
"The scenic restraint creates space for the music. And it sounds so brilliant in Frankfurt that one immediately wishes for a recording of this production. Elizabeth Reiter as Fiorella and Kelsey Lauritano as Fragoletto sing with sparkling excellence, spotless, exuberant, absolutely secure." / “Die szenische Zurückhaltung schafft Raum für die Musik. Und die klingt in Frankfurt so brillant, dass man sich flugs eine Aufnahme von dieser Produktion wünscht. Elizabeth Reiter als Fiorella und Kelsey Lauritano als Fragoletto singen mit funkelnder Exzellenz, blitzblank, übermütig, absolut sicher. —Jan Brachmann
Musik Heute
"The many snappy robber ballads...and the outstanding acting talents of three ensemble members, all debuting in their roles...Kelsey Lauritano as her young organic farmer lover Fragoletto." / “Die vielen schmissigen Räuberballaden…und die herausragenden schauspielerischen Talente dreier Ensemblemitglieder, die alle in ihren Rollen debütieren…Kelsey Lauritano als ihr junger Bio-Bauern-Geliebter Fragoletto.”
Frankfurter Rundschau
"Countless larger and smaller roles, almost exclusively and excellently cast from [Oper Frankfurt’s] own ranks. In the center...Mezzo Kelsey Lauritano as the luxurious Fragoletto." / “Zahllos die größeren und kleineren Rollen, fast ausschließlich und hervorragend aus den eigenen Reihen besetzt. Im Zentrum…Mezzo Kelsey Lauritano als Luxus-Fragoletto.” —Judith von Sternburg
Kulturfreak.de
“A great deal of vitality is shown by the Japanese-American mezzo-soprano Kelsey Lauritano as the organic farmer and rookie bandit Fragoletto (here as the trouser role)." / “Ein großes Maß an Vitalität zeigt die japanisch-amerikanische Mezzosopranistin Kelsey Lauritano als der Biobauer und Banditenneuling Fragoletto (hier als Hosenrolle).” —Markus Gründig
Le Nozze di Figaro - Oper Frankfurt (2023)
Frankfurter Rundschau
“Kelsey Lauritano makes her debut as Cherubino, who, as expected, is also fabulously profound.” / “Kelsey Lauritano debütiert als erwartungsgemäß ebenfalls fabelhaft tiefschürfender Cherubino.” —Judith von Sternburg
Der Opernfreund
“Kelsey Lauritano adds suitably boyish colors to her fresh mezzo for Cherubino.” / “Kelsey Lauritano mischt ihrem frischen Mezzo für den Cherubino passend burschikose Farben bei.” —Michael Demel
FeuilletonFrankfurt
“Ensemble member Kelsey Lauritano is brilliantly playful and vocally convincing as Cherubino. This is her role debut.” / “Spielerisch und gesanglich überzeugend brillant bringt sich Ensemblemitglied Kelsey Lauritano als Cherubino ein. Es ist ihr Rollendebüt.” —Renate Feyerbacher
Musik Heute
“Kelsey Lauritano shone as Cherubino.”/ “Kelsey Lauritano brillierte als Cherubino.”
Francesca da Rimini - Oper Frankfurt (2023)
Klassik Begeisgtert
"Paolo is sung by Japanese-American mezzo-soprano Kelsey Lauritano, a member of the Frankfurt Opera ensemble. She uses this evening to great personal success, which is fully deserved based on her vocal performance. Her well-executed mezzo-soprano is exquisitely suited to the youthful verve of the loving Paolo, as well as his desperation to be torn between love and brotherly loyalty.” / “Paolo wird von der japanisch-amerikanischen Mezzosopranistin Kelsey Lauritano gesungen, einem Mitglied des Ensembles der Oper Frankfurt. Sie nutzt diesen Abend für einen großen persönlichen Erfolg, der auf Grund ihrer gesanglichen Leistung vollauf verdient ist. Ihr gutgeführter Mezzosopran entspricht vorzüglich dem jugendlichen Elan des liebenden Paolo, ebenso dessen Verzweiflung zwischen Liebe und Brudertreue hergerissen zu sein.” —Jean-Nico Schambourg
Frankfurter Rundschau
"Of a different nature, however, is the part of Paolo, unexpectedly but delightfully a trouser role; moreover, the young man / wonderful Kelsey Lauritano is quite composed and sings relatively mildly and beautifully. Lauritano's mezzo is a balm in the tumult.” / “Von anderer Natur hingegen die Partie Paolos, unerwarteter-, aber reizvollerweise eine Hosenrolle, zudem ist der junge Mann / die wunderbare Kelsey Lauritano recht gefasst und singt verhältnismäßig mild und schön. Lauritanos Mezzo ist ein Labsal im Getümmel.” –Judith von Sternburg
Wiesbadener Kurier
"With glowing vocalization and popular coloratura, mezzo-soprano Kelsey Lauritano also thrilled as Paolo. She explored his contradiction between infatuation and remorse for his brother with great emotion.” / “Mit glutvoller Stimmgebung und geläufigen Koloraturen begeisterte auch die Mezzosopranistin Kelsey Lauritano als Paolo. Dessen Widerspruch zwischen Verliebtheit und Gewissensbissen dem Bruder gegenüber lotete sie hochemotional aus.” —Silvia Adler
Der Opernfreund
"Young mezzo-soprano Kelsey Lauritano sang her way to tremendous success last night with her youthful fiery sparkling timbre, balmy shaped languor, and stormy emphasis of the young lover. The duets with Jessica Pratt were exquisitely beautiful in the melding of the two women's voices.” / “Die junge Mezzosopranistin Kelsey Lauritano ersang sich gestern Abend einen gewaltigen Erfolg mit ihrem jugendlich feurig funkelnden Timbre, dem balsamisch gestalteten Schmachten und der stürmischen Emphase des jungen Liebhabers. Die Duette mit Jessica Pratt waren von exquisiter Schönheit in der Verschmelzung der beiden Frauenstimmen.” — Kaspar Sannemann
Frankfurter Allgemeine Zeitung
"...sung fabulously, especially Kelsey Lauritano, who played and sang Paolo with agile alertness, with her rather bright and yet expressive mezzo sound.” / “…fabelhaft sangen, insbesondere Kelsey Lauritano, die den Paolo beweglich-wach spielte und sang, mit ihrem eher hellen und doch expressiven Mezzoklang.” —Wolfgang Fuhrmann
Anaclase
"Mezzo Kelsey Lauritano portrays her lover Paolo with a beautiful and expressive tone. She is also endowed with an appreciable suppleness to negotiate the more flowery passages…” / “Le mezzo Kelsey Lauritano incarne son amoureux Paolo, d’un timbre magnifique et très expressif. Elle est aussi dotée d’une appréciable souplesse pour négocier les passages les plus fleuris…” —Irma Foletti
Financial Times
“Kelsey Lauritano, in the trouser role of Paolo, had great subtlety and fantastic diction” — Shirley Apthorp
Madame Butterfly - Oper Frankfurt (2022)
Frankfurter Rundschau
"Fabulously at her side, the Japanese-American mezzo-soprano Kelsey Lauritano as the deadly serious, immensely present Suzuki. She wears chamber maid's garb, for all things Japanese are pushed aside; the foreignness of cultures, reflected crystal-clearly in Suzuki's first appearances with Pinkerton in particular, develops on its own, not through exoticizing accessories. This is courageous, and it largely works.” / “Fabelhaft an ihrer Seite nun die japanisch-amerikanische Mezzosopranistin Kelsey Lauritano als todernste, ungemein präsente Suzuki. Sie trägt Kammerzofenmontur, denn alles Japanische ist abgedrängt, die Fremdheit der Kulturen, die gerade in Suzukis ersten Auftritten mit Pinkerton glasklar sich spiegelt, entwickelt sich von selbst, nicht durch exotisierende Accessoires. Das ist mutig, und es funktioniert weitgehend.” –Judith von Sternburg
deropernfreund.de
"Acting at eye level with the protagonist is Kelsey Lauritano as Suzuki, whose warm mezzo-soprano provides a fitting contrast to Engebretson's bright voice. For her, too, gestures and looks are precisely attuned to scene and music, succeeding with haunting naturalness." / “Auf Augenhöhe mit der Protagonistin agiert Kelsey Lauritano als Suzuki, deren warmer Mezzosopran einen passenden Kontrast zur hellen Stimme der Engebretson bietet. Auch bei ihr sind Gesten und Blicke genau auf Szene und Musik abgestimmt und gelingen dabei mit eindringlicher Selbstverständlichkeit.” –Michael Demel
Wiesbadener Kurier
"Knowledge, maturity, and vocally conveyed reflection are more pronounced in the important characters alongside her [Cio-Cio-san]... in Kelsey Lauritano's deeply grounded servant Suzuki."/ “Wissen, Reife und vokal vermittelte Reflexion sind bei den wichtigen Figuren an ihrer Seite deutlicher ausgepraegt … bei Kelsey Lauritanos tiefgrundiger Dienerin Suzuki.” –Axel Zibulski
Forum Opera
“Special mention also to Kelsey Lauritano, Suzuki of great class, as much by the presence, the bearing, as the vocal copy (superb trio of III with Sharpless and Pinkerton), all imprint force and conviction.” / “Mention spéciale aussi à Kelsey Lauritano, Suzuki de grande classe, tant par la présence, la prestance, que la copie vocale (superbe trio du III avec Sharpless et Pinkerton), toute empreinte de force et de conviction.”–Thierry Verger
Neue Musikzeitung
"But Frankfurter vocal qualities alongside [Cio-Cio-san] too: the warm mezzo participation of Kelsey Lauritano as Suzuki, rising to a sorrowful near-breakdown at the end." / “Doch Frankfurter Vokalqualitäten auch neben ihr: die warme Mezzo-Anteilnahme von Kelsey Lauritano als Suzuki, die sich zu einem leidvollen Fast-Zusammenbruch am Ende steigerte.” –Wolf-Dieter Peter
musik heute
"Also earning great applause were ensemble members Domen Krizaj as the compassionate Consul Sharpless, mezzo-soprano Kelsey Lauritano in the role of loyal servant Suzuki, and Kihwan Sim's bulky Uncle Bonze." / “Großen Applaus ernteten auch die Ensemblemitglieder Domen Krizaj als mitfühlender Konsul Sharpless, Mezzosopranistin Kelsey Lauritano in der Rolle der treuen Dienerin Suzuki und der wuchtige Onkel Bonze von Kihwan Sim.”
SWR2
“And Manacorda has a young ensemble of voices corresponding to the piece. Wonderfully warm is the Suzuki of Kelsey Lauritano…” / “Und Manacorda verfügt über ein dem Stück entsprechend junges Ensemble von Stimmen. Wunderbar warm die Suzuki von Kelsey Lauritano” –Bernd Künzig
Frankfurter Allgemeine
"Kelsey Lauritano, as Suzuki also rightly celebrated vocally for her performance by the audience" / “Kelsey Lauritano, als Suzuki auch stimmlich für ihre Leistung zu Recht vom Publikum gefeiert” –Jan Brachmann
Kulturfreak.de
"Japanese-American mezzo-soprano Kelsey Lauritano is stirring as Suzuki's loyal servant." / “Die japanisch-amerikanische Mezzosopranistin Kelsey Lauritano rührt als treue Dienerin Suzuki.” –Markus Gründig
FeuilletonFrankfurt
"Slovenian baritone Domen Krizaj as Consul Sharpless and mezzo-soprano Kelsey Lauritano as Suzuki, both ensemble members, received lively acclaim" / “Der slowenische Bariton Domen Krizaj als Konsul Sharpless und Mezzosopranistin Kelsey Lauritano als Suzuki, beide Ensemblemitglieder, wurden lebhaft gefeiert” –Renate Feyerbacher
Nur Wer die Sehnsucht Kennt — Oper Frankfurt (2021)
Bachtrack
“Young Oper Frankfurt ensemble members Trąbka and Lauritano impressed. Lauritano does a nice line in disdainful looks and peppered the Gypsy Girl’s Song with a touch of bitterness and a golden ring to her top notes. To her fell the plum title song, delivered alone on stage with heartfelt emotion. She sang Frenzied Nights in traditional “Lieder pose” on the stage within a stage with the second pianist, Nikolai Petersen, Sulimsky as the sole audience member. Definitely a singer to watch.” —Mark Pullinger
Frankfurter Rundschau
“The fact that Golovneva's thoroughly dramatic soprano and Lauritano's large, warm, shimmering mezzo allow the already rich timbres to bloom even more multifaceted is as impressive as their acting.” (Dass Golovnevas durchaus dramatischer Sopran und Lauritanos großer, warmer, schillernder Mezzo die bereits jetzt reichhaltigen Klangfarben noch facettenreicher blühen lassen, ist so beeindruckend wie ihr Spiel.) —Judith von Sternburg
Online Merker
“Expressive, very agile, warmly tinted, in remarkable richness of sound, Kelsey Lauritano, on the other hand, presented her full, round, well-timbred mezzo-soprano.” (Ausdrucksstark, sehr beweglich, warm getönt, in beachtlicher Klangfülle präsentierte dagegen Kelsey Lauritano ihren vollen runden wohltimbrierten Mezzosopran.) —Gerhard Hoffmann
Opern News
“The soloists accompanied by Mariusz Kłubczuk at the piano are all outstanding, among them Kelsey Lauritano, who underlines the high quality of the Frankfurt ensemble.” (Die von Mariusz Kłubczuk am Klavier begleiteten Solist*innen sind allesamt hervorragend, darunter Kelsey Lauritano, die die hohe Qualität des Frankfurter Ensembles unterstreicht.)
Seen and Heard International
“The singers were uniformly excellent, as exciting dramatically as they were vocally. Kelsey Lauritano, a member of the Oper Frankfurt ensemble (as is Trąbka), revealed a rich voice perfectly suited for Tchaikovsky’s melodies.” —Rick Perdian
The Tempest — Oregon Symphony (2019)
Oregon ArtsWatch
“Theatrically, Tyrone Wilson’s Prospero and Kelsey Lauritano’s magical sprite Ariel are the twin peaks of this production, breathing life and individuality into iconic roles…Lauritano is a revelation both musically and theatrically, a light and dancerly presence whose singing voice is dusky and rounded, a reminder that, spirit or no, Ariel is no mere flitting thing but a creature of strength and power to be reckoned with.” —Bob Hicks
Otello — Oper Frankfurt (2019)
Frankfurter Rundschau
“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.”(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.) —Judith von Sternenburg
Der Opernfreund
“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.” (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) —Michael Demel
Klassik.com
“Kelsey Lauritano bestowed to the sister Emilia’s profile a refreshingly lively, beaming mezzo.” (Erfrischend quirlig mit strahlendem Mezzo verlieh Kelsey Lauritano der Schwester Emilia Profil.) — Christiane Franke
Oper Aktuell
“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...” (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…) —Kaspar Sannemann
Revier Passagen
“Nino Machaidze as Desdemona in her first appearance in a duet with the youthfully radiant singing Emilia of Kelsey Lauritano…” (Nino Machaidze kann als Desdemona in ihrem ersten Auftritt in einem Duett mit der jugendlich strahlend singende Emilia von Kelsey Lauritano…) —Werner Häußner
Teatrionline
“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.” (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.) —Stefano L. Borgioli
The Medium — Oper frankfurt (2019)
IOCO Kultur im Netz
“Kelsey Lauritano impresses with a beautiful voice and equally accomplished acting.” (Kelsey Lauritano beeindruckt mit schöner Stimme und ebenso versiertem Spiel.) —Ljerka Oreskovic Herrmann
Online Merker
“Kelsey Lauritano plays Mrs. Nolan with a very well-timbered Mezzo…” (Kelsey Lauritano gibt mit sehr wohltimbriertem Mezzo die Mrs. Nolan…) —Friedeon Rosén
Marilyn Horne Song Competition Winner’s Recital Tour (2018)
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 (2018)
Opera secondo me
“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.” (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.) —Giulia Tonelli
Alcina — BOSTON EARLY MUSIC FESTIVAL (2018)
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
Le nozze di figaro - Music Academy of the West
Opera News
“Mezzo-soprano Kelsey Lauritano was delightfully spirited as Cherubino. Her voice was impressive, especially in its powerful upper range.” —Catherine Womack
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