March 1



May 22, 26, 28

June 1, 4, 8, 10, 17, 21, 24, 26

July 1, 7, 10, 14, 17

July 25

October 8, 9

November 24 - 29

October 15, 16, 17
October 22, 23, 24
October 29, 30, 31
November 5, 6, 7
November 13, 14
November 19, 20, 21



March 15













June 13,15 mat,16,18









July 19







July 28 - August 3






August 15, 17









September 22, 25, 29

October 2, 5



November 21, 23, 25, 27


November 21, 23, 25, 28


January 22, 24, 27, 30

February 1, 3, 4, 6


March 15,17



May 15



June 1,6,8,13,17,20,25,27,28





November 20, 25, 26

December 4, 6, 8


Prima Donna  
Hong Kong Arts Festival

Playing Regine St. Laurent at Cultural Centre Concert Hall



Il Barbiere di Siviglia

Playing Berta

Il Barbiere di Siviglia
BBC Proms

Playing Berta at the Royal Albert Hall

Prima Donna  RECORDING  
BBC Symphony Orchestra

Playing Regine St. Laurent

Sweeney Todd
Welsh National Opera

Playing Mrs. Lovett at the Wales Millenium Centre - Cardiff



Sweeney Todd
Welsh National Opera

Playing Mrs. Lovett at the Mayflower Theatre - Southhampton

Sweeney Todd
Welsh National Opera

Playing Mrs. Lovett at the Bristol Hippodrome - Bristol

Sweeney Todd
Welsh National Opera

Playing Mrs. Lovett at the Venue Cymru - Llandudno



Sweeney Todd
Welsh National Opera

Playing Mrs. Lovett at the New Oxford Theatre - Oxford



Sweeney Todd
Welsh National Opera

Playing Mrs. Lovett at the Liverpool Empire Theatre - Liverpool



Sweeney Todd
Welsh National Opera

Playing Mrs. Lovett at the Birmingham Hippodrome - Birmingham








Soprano Solo











Playing Mrs Julian










Oxenfoord International Summer Course by Malcolm Martineau






Playing Mrs Julian





Playing Berta



Playing Miss Jessel at Opera Toulouse




Playing Mrs Coyle at Opera Toulouse




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



Owen Wingrave‚ Aldeburgh Festival (June 2014)

'Susan Bullock‚ Janis Kelly and Catherine Backhouse embody the heartless‚ relentless women who eventually ruin Owen'

Owen Wingrave‚ Aldeburgh Festival

What’s On (June 2014)

'In a cracking cast...Janis Kelly a steel-eyed Mrs Julian'


Rufus Wainwright Concert, Festspielhauses St. Pölten

Die (March 2014)

'Janis Kelly initially devoted herself to "All Days Are Nights - Songs for Lulu"‚ one based in part on Shakespeare sonnets songs collection Wainwright‚ which primarily deals with the darker side of existence. Difficult material‚ painted by Kelly delicately bitter soprano with confidence. Especially the pederasty treated "Sonnet 10" won by their floating interpretation'


Rufus Wainwright Concert‚ Festspielhauses St. Pölten (March 2014)

'...the Scottish soprano Janis Kelly‚ who stepped in for Kirschschlager and Wainwright’s art songs "All Days are Nights - Songs for Lulu" sang. Kelly was the right choice. Wainwright’s songs tend to be dramatic‚ sweeping gestures and Kelly interpreted precisely this drama‚ without forgetting a wink and the subtle shades. Because the emotional range of this fabulous composer is large: from emotion to smile is everything. Kelly‚ accompanied on piano by Sarah Tysman‚ managed to play all these roles. She has experience with Wainwright‚ whose musical curiosity is due to writing an opera‚ "Prima donna" was premiered in Manchester in 2009‚ Kelly sang the title role'


Clemency‚ Scottish Opera​

Stage (September 2012)

'Janis Kelly is bursting with spirit as Sarah‚ incredulous when the strangers announce she is pregnant'

Clemency‚ Scottish Opera
Times (September 2012)

'...strong performances from Janis Kelly and Grant Doyle'

Intermezzo‚ Buxton Festival
Opera (September 2012)

'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'

Intermezzo‚ Buxton Festival
Arts (July 2012)

'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...'

Intermezzo‚ Buxton Festival
Financial Times (July 2012)

'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'

Intermezzo‚ Buxton Festival
Guardian (July 2012)

'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'

Intermezzo‚ Buxton Festival
New York Times (July 2012)

'...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'

Intermezzo‚ Buxton Festival
Stage (July 2012)

'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'

Intermezzo‚ Buxton Festival
Sunday Times (July 2012)

'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...'

Intermezzo‚ Buxton Festival
Times (July 2012)

'Janis Kelly as Christine Storch (aka Pauline Strauss) has the measure of the work’s unique‚ agitated style of melodic recitative‚ and is indefatigable'

Albert Herring‚ Los Angeles Opera
LA Times (February 2012)

'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'

Albert Herring‚ Los Angeles Opera
Out West (January 2012)

'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'

Rusalka‚ Grange Park Opera
Opera (August 2011)

'Janis Kelly launched herself at the role of the Foreign Princess with wicked abandon'

Clemency‚ Royal Opera House 2‚ Linbury Theatre
Opera (July 2011)

'...eloquent and moving...'

Rusalka‚ Grange Park Opera
Stage (June 2011)

' terms of drama‚ all the performances register impressively‚ including Janis Kelly’s Joan Collins-like Foreign Princess'

Rusalka‚ Grange Park Opera
Telegraph (June 2011)

'Janis Kelly excelled as the Foreign Princess – a little killer of a role which she both sings and characterises brilliantly'

Clemency‚ Royal Opera House 2‚ Linbury Theatre
Financial Times (May 2011)

'Janis Kelly and Grant Doyle give meaning to their every movement'

Clemency‚ Royal Opera House 2‚ Linbury Theatre
Guardian (May 2011)

'Janis Kelly registers Sarah’s "gratitude and terror" towards God in a performance of considerable power'

Clemency‚ Royal Opera House 2‚ Linbury Theatre
Independent (May 2011)

'...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'

Clemency‚ Royal Opera House 2‚ Linbury Theatre
Independent on Sunday (May 2011)

'she is riveting'

Clemency‚ Royal Opera House 2‚ Linbury Theatre
Observer on Sunday (May 2011)

'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'

Clemency‚ Royal Opera House 2‚ Linbury Theatre
Stage (May 2011)

'Janis Kelly perceptively reflects the burden of Sarah’s longstanding sterility seemingly as much by what is thought as what is sung'

Clemency‚ Royal Opera House 2‚ Linbury Theatre
Telegraph (May 2011)

'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'

Clemency‚ Royal Opera House 2‚ Linbury Theatre
Whats On (May 2011)

'Janis Kelly brings a careworn dignity to the under-written role of his wife‚ Sarah'

Nixon in China‚ The Metropolitan Opera
ABC (February 2011)

'Soprano Janis Kelly was eloquent as Pat Nixon‚ especially in her second-act scene that includes the aria‚ "This is prophetic"'

Nixon in China‚ The Metropolitan Opera
Classics (February 2011)

'Janis Kelly’s Pat Nixon is wonderfully sympathetic and her act two soliloquy is a marvelous piece of self-examination and introspection'

Nixon in China‚ The Metropolitan Opera
CNY cafe (February 2011)

'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'

Nixon in China‚ The Metropolitan Opera (February 2011)

'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'

Nixon in China‚ The Metropolitan Opera
Huffington Post (February 2011)

'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'

Nixon in China‚ The Metropolitan Opera
Los Angeles Times (February 2011)

'Janis Kelly gave a world-class performance as Pat Nixon'

Nixon in China‚ The Metropolitan Opera
New Jersey Star Ledger (February 2011)

'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'

Nixon in China‚ The Metropolitan Opera
New York Magazine (February 2011)

'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'

Nixon in China‚ The Metropolitan Opera
New York Post (February 2011)

'...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'

Nixon in China‚ The Metropolitan Opera
New York Times (February 2011)

'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'

Nixon in China‚ The Metropolitan Opera
The Arts (February 2011)

'...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'

Nixon in China‚ The Metropolitan Opera
Washington Post (February 2011)

'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'

Adriana Lecouvreur‚ Royal Opera House Covent Garden (November 2010)

'The cast is remarkably strong...Janis Kelly is an ideal Jouvenot'

Adriana Lecouvreur‚ Royal Opera House Covent Garden
The Arts (November 2010)

'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'

Prima Donna‚ Sadler’s Wells
Financial Times (April 2010)

'As in Manchester‚ Janis Kelly exudes restrained charisma as the prima donna'

Prima Donna‚ Sadler’s Wells
Independent (April 2010)

' is a tribute to the marvellous Janis Kelly in the title role that she actually elicits such pathos...'

Prima Donna‚ Sadler’s Wells
Telegraph (April 2010)

'...she gives an alluring and persuasive performance...'

Prima Donna‚ Sadler’s Wells
Telegraph (April 2010)

'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'

Prima Donna‚ Sadler’s Wells
The Arts (April 2010)

'...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'

Prima Donna‚ Sadler’s Wells
This is London (April 2010)

'Janis Kelly — predictably excellent'

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