Press: Kathryn Allyn, mezzo-soprano -- Opera, Oratorio Singer, Classical Vocalist


		"Her voice is commanding with a good metallic ring…" —The Palm Beach Daily News
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	Malcolm in La Donna del Lago with Opera Orchestra of New York “For all the excellence of [the] singers, it was Kathryn Friest [Allyn] in the pants role of Malcolm who won the audience. Every time she came onstage, she knocked off another amazing vocal feat of fioritura, embellishment, or expressive slow singing. Her voice has that richly creamy mezzo sound that at times hints at true alto quality. Yet she nailed high notes in the range of all sopranos... Since Malcolm is the young love interest of Elena, the music is meant to suggest the same bravura as the two "older" tenors show. As fabulously as they sang, she did them one better.” —Daniel Vezza, Classical New Jersey Society Journal Carmen in Carmen "Saucy vixen Carmen, played by the comely Kathryn Allyn, coupled the fiery gypsy thing with that old borderline personality man-eater behavior that would ruin any guy lucky enough to ... And her voice wasn't bad either!" —Mark Muro, Anchorage Daily News Online "Conductor Sara Jobin's was an intentionally unsentimental approach, seeking out the adamant intransigence that lies at the heart of tragedy...Kathryn Allyn's take on the title role was, accordingly, more arid than passionate. She sang easily and convincingly yet kept her distance from anyone or anything that might claim her love or limit her freedom. Her "Habanera" was not so much winged flirtation as a cool dissertation on the question: What's love got to do with it?" —Mike Dunham, Anchorage Daily News "Kathryn Friest [Allyn] has one of the best Carmen voices I have ever heard... Her voice is so large, so strong and in control... She is wonderful to listen to..." —Lydia Si-Ngaw Lui, Veritas (Online Review) Rosalind in The Mines of Sulphur with New York City Opera “Kathryn Friest [Allyn], was a vocally lustrous earful.” —David Patrick Stearns, The Philadelphia Enquirer Prince Orlofsky in Die Fledermaus “Kathryn [Allyn] was the most lovable, perhaps, of all characters, mixing a thick Russian accent (delivered with magnificent diction) with a rich mezzo that dazzled the ears, particularly in her whimsical aria 'Chacun a son gout'.” —David Abrams, Syracuse Post-Standard “perhaps the finest voice in the company belonged to Kathryn [Allyn] as the Prince.” —Stuart Duncan, Princeton Packet Online Teodata in Flavio with New York City Opera “Also impressive was Kathryn Allyn in the contralto role of Teodata; in spite of a costume that resembled a cupcake, Allyn provided luxurious vocalism, good looks and theatrical poise...” —Opera News Online “Kathryn Allyn makes a ripe and diverting Teodata...” —Russ Volpe, CUNYOnline “...the production was a delight to behold...Kathryn Allyn’s deep mezzo was well served in the role of Teodata...” —Sarah Gerk, Opera Today “...Kathryn Allyn (Teodata) had a beautiful lush mezzo tone that projected well...If you are a fan of Handel...or beautiful accomplished singing...you owe it to yourself to run and get your ticket now.” —BlogSpot.com Verdi Requiem at Weill Hall with Opera Orchestra of New York “Mezzo-soprano Kathryn Friest revealed a quality instrument in 'Liber scriptus '...I only wish she'd had more to do in this concert.” —James Jorden, The Gay City News New York City Opera Concert “…Drawing attention to Opera-for-All, [NYCO] is presenting "Afternoon Arias," a series of…concerts at Bryant Park... no one would have accused the company of exaggeration if it had billed the series, in the spirit of John Cage, as Ambient Experiment X: 'Amplified Arias With Traffic and Construction Sounds, Air-Brakes and Sirens' …Amid the roar of Manhattan at lunchtime, though, the singers offered hints of what they can do. *Ms. Friest-Allyn in particular had the power to cut through the sonic haze in selections from Carmen* and Hansel and Gretel.”** —Allan Kozinn, The New York Times Suzuki in Madama Butterfly “Kathryn Allyn was convincingly Japanese as Suzuki.” —David Mead, Austin360.com “...and Kathryn [Allyn] as Suzuki [was] superb among an excellent cast.” —Hilding Lindquist, AuthorsDen.com “There was a lot to like...the supporting cast...[including] Kathryn [Allyn] as Suzuki,...was strong.” —Anne Midgette, The New York Times Nicklausse/Muse in Les Contes d’Hoffmann with Palm Beach Opera “As the Muse who masquerades as Nicklausse, Kathryn Friest [Allyn] was note-perfect, providing the most satisfying performance of the night. The petite mezzo was a consistently engaged and charismatic presence and sang with a clear, well-focused tone, making the famous Act 3 Barcarolle bloom beautifully.” —Lawrence A. Johnson, The Fort Lauderdale Sun-Sentinel “The pivotal role of …Niklausse was engagingly sung and acted by mezzo-soprano Friest [Allyn]. Her voice is commanding with a good metallic ring, and her correct dramatic motivation propelled the plot nicely.” —R. Spencer Butler, The Palm Beach Daily News “As Nicklausse and the muse of poetry, Kathryn Friest [Allyn] was delightful in her outstanding debut.” —Sharon McDaniel, The Palm Beach Post Aloès in Chabrier's L'Etoile with New York City Opera “Kathryn Friest [Allyn] was the stylishly sung, grandly libidinous Aloès.” —M. Lignana Rosenberg, Opera News “There were also fine performances from Kathryn Friest [Allyn] as an Aloès quietly steaming throughout…” —Paul Griffiths, The New York Times Siebel in Faust with El Paso Opera "Kathryn [Allyn] es Siebel, y sus intervenciones son dinámicas, como lo es la pasión de este Querubino que vive el primer amor en su Margarita. Su registro completo de mezzo y angel le augura un brillante futuro." —Jaime Castañeda Reyes, Cronica Ariodante in Ariodante “[Ariodante was] most impressively sung and acted by Kathryn [Allyn]....[she] served as the vocal and histrionic backbone of the performances, displaying a richly burnished voice, wide vocal range, and excellent coloratura technique.” —Howard J. Levin, OnlineReview Cuniza in Verdi’s Oberto “Kathryn was impressive in acting, singing, and clear, emotive projection of the text.” —Joseph McLellan, The Washington Post

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