January 22, 24, 27, 30
February 1, 3, 4, 6
November 20, 25, 26
December 4, 6, 8
July 28 - August 3
August 15, 17
September 22, 25, 29
October 2, 5
November 20, 23, 25, 27
Brand new Philip Glass opera about Walt Disney.
Janis will be playing Hazel George
Performances January 22, 24, 27, 29, 31; February 2, 4, 6.
Playing Hazel George
Playing Mrs Naidoo
Playing Mrs Julian
Oxenfoord International Summer Course by Malcolm Martineau
Playing Mrs Julian
Playing Miss Jessel at Opera Toulouse
Playing Mrs Coyle at Opera Toulouse
'Janis Kelly is bursting with spirit as Sarah‚ incredulous when the strangers announce she is pregnant'
'...strong performances from Janis Kelly and Grant Doyle'
'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'
'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...'
'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'
'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'
'...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'
'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'
'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...'
'Janis Kelly as Christine Storch (aka Pauline Strauss) has the measure of the work’s unique‚ agitated style of melodic recitative‚ and is indefatigable'
'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'
'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'
'Janis Kelly launched herself at the role of the Foreign Princess with wicked abandon'
'...eloquent and moving...'
'...in terms of drama‚ all the performances register impressively‚ including Janis Kelly’s Joan Collins-like Foreign Princess'
'Janis Kelly excelled as the Foreign Princess – a little killer of a role which she both sings and characterises brilliantly'
'Janis Kelly and Grant Doyle give meaning to their every movement'
'Janis Kelly registers Sarah’s "gratitude and terror" towards God in a performance of considerable power'
'...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'
'she is riveting'
'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'
'Janis Kelly perceptively reflects the burden of Sarah’s longstanding sterility seemingly as much by what is thought as what is sung'
'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'
'Janis Kelly brings a careworn dignity to the under-written role of his wife‚ Sarah'
'Soprano Janis Kelly was eloquent as Pat Nixon‚ especially in her second-act scene that includes the aria‚ "This is prophetic"'
'Janis Kelly’s Pat Nixon is wonderfully sympathetic and her act two soliloquy is a marvelous piece of self-examination and introspection'
'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'
'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'
'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'
'Janis Kelly gave a world-class performance as Pat Nixon'
'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'
'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'
'...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'
'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'
'...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'
'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'
'The cast is remarkably strong...Janis Kelly is an ideal Jouvenot'
'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'
'As in Manchester‚ Janis Kelly exudes restrained charisma as the prima donna'
'...it is a tribute to the marvellous Janis Kelly in the title role that she actually elicits such pathos...'
'...she gives an alluring and persuasive performance...'
'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'
'...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'
'Janis Kelly — predictably excellent'