Il barbiere di Siviglia‚ Glyndebourne on Tour

Classical Source (October 2017)

'Janis Kelly (Bertha) produced a pearl from her single aria – and made clear that this ageing spinster is still up for it.'

MusicOMH (October 2017)

'Janis Kelly was the sole representative of the first cast‚ and she was a finely sung‚ lovingly detailed Berta despite having to carry out embarrassing actions.'

Le nozze di Figaro‚ Garsington Opera

Arts Journal (June 2017)

'Marcellina is luxury casting‚ the wonderful Janis Kelly makes the role rollickingly funny.'

BachTrack.com (June 2017)

'The smaller roles are given luxury 3D treatment‚ especially Janis Kelly’s garish but still-glamorous Marcellina (whose transformation from spiteful cougar to tiger-mother is at once hilarious and touching)...'

Fine Times Recorder (June 2017)

'Janis Kelly is an unusually loveable Marcellina‚ the old retainer with a guilty secret. Many years ago‚ when I started my journalistic career‚ I hated the tendency of older critics to compare performances with those they had seen in what seemed to be the “dark ages.” Now I join them. In the 1990s‚ in the unprepossessing setting of Reading Hexagon‚ Opera Factory brought their touring production of Figaro with Janis Kelly in the role of the Countess. In more than 20 live performances of the opera‚ and many more on records and CDs‚ her performance stood out for its extraordinary beauty‚ vulnerability and depth.Now she turns to the (usually) old battleaxe role with affection‚ wit and charm‚ again entrancing the audience.'

Forum Opera (June 2017)

'Janis Kelly est une Marcellina épatante dans ce qui lui reste de rôle (son air est‚ classiquement‚ coupé). /// Janis Kelly is an amazing Marcellina in what remains of her role (her aira is‚ traditionally‚ cut).'

MusichOMH (June 2017)

'Has either Timothy Robinson or Janis Kelly ever failed to inhabit a role to such a degree that it’s impossible to imagine it being bettered? Unlikely‚ if their Basilio and Marcellina here are anything to go by. Robinson’s suave‚ caustic‚ impeccably sung music master and Kelly’s hilarious‚ persuasive housekeeper are absolute classics‚ and they form the perfect trio with Stephen Richardson’s sonorous Bartolo.'

Opera Today (June 2017)

'The last time I saw Janis Kelly‚ at Glyndebourne in 2016 as Berta in Rossini’s Barbiere‚ she threatened to steal the show. And‚ the same was true here: her Marcellina was a cross between ’Hyacinth Bucket’ and Queen Elizabeth II‚ but her voice is still fresh and youthful. The Act 3 revelations of Figaro’s origins were expertly done - Kelly switched from financial grabbing matriarch to matronly concern in the twinkling of an eye; and‚ Kelly’s theatrical experience no doubt was of enormous help to the younger members of the cast.'

The Independent (June 2017)

'...and Janis Kelly extracts laughter of the sort one more usually expects from an Orton comedy‚ as the frumpy housekeeper Marcellina.'

The Stage (June 2017)

'Special commendation goes to the excellent Janis Kelly as the social-climbing Marcellina‚ whose forceful personality is well matched by her costumes.'

The Times (June 2017)

'Plentiful chuckles met the hide-and-seek shenanigans; the comic timing as Janis Kelly’s sharp Marcellina was revealed to be Figaro’s mother was delicious.'

Nixon in China‚ Omroep Muziek

BachTrack.com (February 2017)

'Soprano Janis Kelly gave us a winning characterisation of the First Lady‚ Pat Nixon‚ in turn touching or almost comically impressionable.'

Opera Today (February 2017)

'His diction was crystal-clear‚ as was Janis Kelly’s in the role of Pat Nixon. Kelly sang with irreproachable operatic technique and the subtleties of a musical actress‚ every accent and colour sounding natural. Her Pat was a likeable mixture of practicality and feminine warmth.'

Il barbiere di Siviglia‚ Glyndebourne Festival BBC Prom

Classical Source (July 2016)

'Janis Kelly proved as nimble a dancer as singer in her aria‚ and even though it is Berta’s only big vocal outing it brought the house down.'

Opera Today (July 2016)

'Janis Kelly was rather luxury casting as Berta‚ and she made her single aria into a wonderfully show-stopping number.'

Seen & Heard International (July 2016)

'It was lovely to see the experienced Janis Kelly there as Berta‚ her Act 2 aria astonishingly characterful‚ her voice strong. '

Il barbiere di Siviglia‚ Glyndebourne Festival

Mundoclasico.com (June 2016)

'Una Janis Kelly vestida de traje sastre la cantó y bailó con el histrionismo necesario para merecer una de las mas grandes ovaciones de la noche // Janis Kelly dressed in a tailored suit sang and danced with the histrionics necessary to deserve one of the biggest ovations of the night.'

BachTrack.com (May 2016)

'Janis Kelly grabbed Berta’s little Act II aria and turned it into something quite wonderful.'

Financial Times (May 2016)

'Janis Kelly turns Berta’s little aria into a show-stopper.'

Mark Ronan.com (May 2016)

'Janis Kelly as Bartolo’s servant Berta inspiring spontaneous applause following her excellent Act 2 aria on the frenzy and craziness around her.'

Opera Today (May 2016)

'Janis Kelly showed that her Miss Marple-spinster’s outfit hid a rampant vivaciousness‚ and stole the show with Berta’s lament for missed romantic chances‚ ‘Il Vecchiotto Cerca Moglie’.'

The Stage (May 2016)

'Janis Kelly makes something of a showstopper out of her cleverly vocalised‚ wittily acted account of efficient housekeeper Berta’s aria.'

The Telegraph (May 2016)

'Janis Kelly’s outrageous scene-stealing as the housekeeper Berta drew genuine laughter.'

Sweeney Todd‚ Welsh National Opera

Opera (December 2015)

'Ultimately‚ though‚ this must be a paean to the exceptional Janis Kelly‚ whose portrayal of Mrs Lovett was simply outstanding and testimony to her consummate skills as a singing actress...the resonance Kelly brought to her characterization tipped the balance of power ever further in Mrs Lovett’s favour. Hers was the razor-sharp performance of the evening.'

Daily Post (November 2015)

'All the cast are excellent but a special mention for Janis Kelly as Mrs Lovett. She gets all the best lines and threatens to upstage Todd.'

Seen & Heard International (November 2015)

'The set‚ particularly the barber’s chair and cinematic effects are quite superb as are some of the performances. Particularly outstanding is that of Janis Kelly as Todd’s new woman. Hearing and seeing her as a singing actress reminded me of Eric Roberts as Doctor Bartolo in Rossini’s Barber‚ seen several times in Llandudno in the shared production with Opera North. Her every little tick‚ facial expression and body movement serving the creation of the part to perfection. She lives acts and portrays the role that is anything but appealing‚ but becomes the centre of the action creating a woman infatuated by the sadistic but imposing Todd as portrayed by David Amsperger – at least until she becomes a victim of the Demon Barber.'

BachTrack.com (October 2015)

'Clearest of all was Janis Kelly as an irresistibly comical‚ sinister Mrs Lovett‚ who seemed to be channelling Joan Sutherland‚ Fanny Craddock and Mary Berry in rapid succession‚ permed blonde wig sprayed firmly into place.'

Guardian (October 2015)

'Janis Kelly’s Mrs Lovett steals the honours‚ with fine comic timing'

Sunday Times (October 2015)

'Janis Kelly certainly isn’t the first opera singer to succeed with Mrs Lovett‚ but she’s the first in my experience not to sound anything like an opera singer. She’s one of the most creative artists in the business‚ a true theatrical chameleon‚ with plenty of rasp to her voice and a deft way with words to reveal the black wit of “Priest”. One of the joys of the staging is her appearance‚ after the success of the pie enterprise‚ as a ringer for Dick Emery’s peroxide drag persona‚ Mandy (readers of my age might remember her catchphrase‚ “Ooh‚ you are awful‚ but I like you”)‚ which Kelly carries off with delicious aplomb.'

The Arts Desk (October 2015)

'Janis Kelly catches this image with precision‚ from the slatternly but twinkly purveyor of “The worst pies in London” to the not wholly passive recipient of Tobias’s affection in “Not while I’m around”. And her vocalising – soprano when required – is consistently stylish and to the point.'

The Stage (October 2015)

'...authentically Cockney contributions of Janis Kelly’s desperate Mrs Lovett.'

The Times (October 2015)

'Janis Kelly’s equally convincing Mrs Lovett so compellingly rancid.'

Wales Online (October 2015)

'Janis Kelly was gruesomely entertaining as Mrs Lovett.'

For more reviews please see Musichall