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Leonore in Beethoven's Fidelio

 
Kelly Griffin brought a range of emotional color and a soprano of strength and polish to Leah. She also managed the neat dramatic trick of hiding her fear from the other characters, while letting the audience into every thought.
— OPERA NEWS
Kelly Griffin, was an imposingly passionate Leah carrying off “Abscheulicher!” with authority.
— THE WALL STREET JOURNAL
 
 
Soprano Kelly Griffin made an incisive Leah, powerful yet warm...
— BROADWAY WORLD
Kelly Griffin jerked tears and kicked butt as Leah (Leonore)...
— VULTURE
 
 
As the eponymous Fidelio, we heard soprano Kelly Griffin whom we so enjoyed as one of Daniel Cardona’s large voiced “finds”. She impressed us as a different Leonore, the one in Verdi’s Forza del Destino with New Amsterdam Opera.
— VOCE DI MECHE

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Amelia in Verdi’s Un Ballo in Maschera

 
Possessed of a mezzo’s velvety sheen, soprano Kelly Griffin, as Amelia, has power...
— HOUSTON PRESS

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Leonora in Verdi’s La Forza del Destino

 
Kelly Griffin, has sung Lady Macbeth…. She has a warm, powerful, clearly Verdian sound with a beautiful mid-range...She was in full, gratifying, command by the time “Vergine degl’angeli” rolled around, with great, serene pear-shaped phrases. (A Leonora di Vargas is also an Aida, and she sings that role too.)
— PARTERRE BOX
The crowning jewel of any performance of Forza is Leonora, the opera’s star-crossed heroine, sung here by soprano Kelly Griffin. Ms. Griffin had the right amount of steel and flint in her voice to strike sparks with Mr. Brooks and cut through the large swirling ensemble in the inn scene. She summoned tones of warm religious passion in “Madre pietosa vergine”, the triple-length scena, aria and grand religious finale that is the fulcrum of the entire work. Offstage for all of Act III, Ms. Griffin returned in fine voice for the Act IV aria “Pace, pace mio Dio”, the opera’s searing spiritual climax.
— SUPERCONDUCTOR BLOGSPOT
 
 
Kelly Griffin, the dramatic soprano who sang Leonora was possibly one of Daniel Cardona’s “discoveries” about 3 years ago when she bowled us over with....(you guessed it, didn’t you?)...”Pace, pace mio Dio”. We heard her sing it again a few months ago; she has grown into the entire role and performed it with passion and intensity, well served by her generous instrument, which has an agreeable vibrato.
— VOCE DI MECHE
Griffin possesses a thick creamy voice that easily projected over any orchestra. She also has a rich middle voice…there were moments of pathos in her singing particularly the second aria “Madre, pietosa vergine”. Griffin repeated the words “Pieta” with emphatic grief. The aria built in momentum with her sound’s growing volume ratcheting up the intensity. It was the highlight of her evening.
— OPERAWIRE
 

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Lady Macbeth in Verdi’s Macbeth

 
Another challenge in producing the work is casting Lady Macbeth, a ferociously demanding part extending from fierce declamation to the most delicate pianissimo singing. Kelly Griffin sailed through the treacherous role with a lean, cool soprano encompassing both pingy high notes and gutsy plunges into chest register. She commanded the stage with icy presence, betraying the character’s doubts with no more than a glance. Even in the sleepwalking scene, she maintained a dignified, almost formal bearing echoed by her graceful bel canto vocalism.
— NEW YORK OBSERVER

Soloist in Highlights from Madama Butterfly and More at the National Opera Center NYC

Soprano Kelly Griffin has a substantial instrument as well, singing “Pace, pace mio Dio!” from Verdi’s La Forza del Destino with deep involvement, building to a powerful anguished climax. In “Ritorna vincitor!” from Verdi’s Aida, she created a most believable character, tortured by ambivalence.
— VOCE DI MECHE
 

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Soloist in Night at the Opera

 
One need look no further than Kelly Griffin’s portrayal of Electra from Mozart’s Idomeneo . . . Griffin embodied her role, with a fierceness matched by a rounded tone and superb coordination with the orchestra.
— SOUTH FLORIDA CLASSICAL REVIEW

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Soloist in Rachmaninov’s The Bells

Soprano Kelly Griffin floated over the orchestra, phrasing expressively. The orchestra and chorus built up to the passion of which the poem sings, which was released in sensitive, softer singing.
— NEWS TIMES
 

Soloist in Gran Festival de Operettas with Pro Arte Grateli Orchestra

 
Five musical numbers from “Die Fledermaus”, Strauss, closed the first part of the program. Among these we must highlight the participation of Kelly Griffin, who holds a powerful voice . . . Griffin returned to the scene with a beautiful ballad in her beautiful voice - the only sung in German that afternoon, the entire program was sung in Spanish - from The Chocolate Soldier by Oscar Straus.
— EL NUEVO HERALD

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Soloist in Tutto Puccini

Kelly Griffin also gave a very accomplished “Quando m’en vo”. . . a fantastic “La bohème” quartet by Aladren / Antunez and Martinez / Griffin closed the first part of the evening.
— EL NUEVO HERALD