|Dates||September 30, October 3, 5, 7, 9, 12 2014|
|Opera||Un Ballo in Maschera|
|Venue||Théâter du Capitole|
|Dates||January 17, 2015|
|Venue||Palm Beach Opera|
|Dates||May 1, 3 2015|
|Venue||Orlando Philharmonic Orchestra|
|Dates||November 16, 21, 24|
|Role||Élisabeth de Valois|
|Venue||Austin Lyric Opera|
|Opera||Un ballo in maschera|
|Venue||Canadian Opera Company|
|Dates||March 21, 22, and 23|
|Opera||The Tales of Hoffman|
|Venue||Palm Beach Opera|
|Dates||June 29, 30 2012|
|Opera||Don Giovanni (Act 1 Finale)|
|Venue||New York Philharmonic|
|Conductor: Alan Gilbert|
|Dates||March – May 2012|
|Opera||Tales of Hoffmann|
|Venue||Canadian Opera Company|
|Dates||January – March 2012|
|Venue||Opera North in Leeds|
|Dates||October – December 2011|
|Dates||August 17, 20, 23, 2011|
|Venue||Teatro Municipal de Santiago|
|Dates||August 4, 2011|
|Role||Soprano Soloist in Mahler’s Das Klagende Lied|
|Conductor: James Conlon|
|Dates||May 27, 2011|
|Venue||Cininnati May Festival|
|Role||Soprano Soloist in Hayden’s Heiligmesse and Mahler’s Das Klagende Lied|
|Conductor: James Conlon|
|Dates||April 9, 12, 15, 17, 2011|
|Opera||Cosí fan tutte|
|Dates||December 3, 2010|
|Role||Guest Artist with Samuel Ramey and Julianna DiGiacomo|
|Venue||New Jersey State Opera|
|Dates||November 4, 6, 8, 10, 2010|
|Venue||Teatro de la Maestranza – Seville|
|Dates||July 10 and 16th, 2010|
|Dates||January 22, 2010|
|Venue||The Song Continues Concert|
|Dates||November 8, 10, 12, 14, 20, 22, 2009|
|Venue||New York City Opera|
In the 2014 – 2015 season, Keri Alkema makes her French debut at Théâtre du Capitole in Toulouse as Amelia in Un ballo in maschera under the baton of Daniel Oren with costumes by Christian Lacroix. She will also sing her first performances of Madama Butterfly at Teatro Municipal de Santiago and of Tosca with the Orlando Philharmonic. She also returns to Palm Beach Opera as Mimì in La bohème. Ms. Alkema made her role debut as Elisabetta di Valois in Verdi’s Don Carlo at Austin Lyric Opera in the 2013 – 2014 season, as well as debuted at Opéra National de Bordeaux as Giovanna Seymour in Anna Bolena and as Giulietta in Les contes d’Hoffmann at Palm Beach Opera. She returned Teatro Municipal de Santiago for her first performances as Desdemona in Verdi’s Otello and the Canadian Opera Company to cover the role of Amelia in Un ballo in maschera. Future season will see her as Mozart, Verdi, Puccini, and bel canto heroines at the Canadian Opera Company, Opéra National Bordeaux, Seattle Opera Washington National Opera, and Teatro Municipal de Santiago.
Recently, Ms. Alkema sang her first performances of the title role in Anna Bolena at Minnesota Opera, a role she also covered first at the Washington National Opera. She returned to the Canadian Opera Company in a much-acclaimed
role debut as Vitellia in Christopher Alden’s production of La clemenza di Tito and also returned to New York City Opera where she was seen as Amaltea, the Pharaoh’s wife, in Rossini’s Mosè in Egitto at New York City Center.
She has made a number of international debuts: Glyndebourne as Mimì in La bohème, Opera North in Leeds as Adalgisa in Christopher Alden’s new production of Norma, and the Canadian Opera Company as Giulietta in Les contes d’Hoffmann. She also debuted with the New York Philharmonic in the finale to Act One of Don Giovanni as Donna Elvira under music director Alan Gilbert. Other notable engagements include her appearances at Teatro de la Maestranza in Seville as Freia in Das Rheingold, Atlanta Opera as Fiordiligi in Così fan tutte, and Teatro Municipal de Santiago as Amelia Grimaldi in Simon Boccanegra. Ms. Alkema made her soprano role debut to great critical acclaim as Donna Elvira in Christopher Alden’s production of Don Giovanni at the New York City Opera in which the New York Times praised her “compelling, rich-toned” performance.
Ms. Alkema has debuted on the concert stages of the Ravinia Festival with the Chicago Symphony Orchestra in Mahler’s Das klagende Lied and Cincinnati May Festival again in Das klagende Lied and also Haydn’s Heiligmesse – Missa Sancti Bernardi von Offida, both engagements under the baton of James Conlon, as well as with the St. Paul Chamber Orchestra as Donna Elvira in Don Giovanni under Roberto Abbado. She was also heard as Adalgisa in the original two soprano version of Bellini’s masterpiece Norma at the Caramoor International Music Festival with Will Crutchfield. An active member of the roster of the Marilyn Horne Foundation, she also performed at the Marilyn Horne Foundation Annual Recital at Carnegie Hall.
As a mezzo-soprano, Ms. Alkema was heard as Charlotte in Werther (Chautauqua Opera), Rosina in Il barbiere di Siviglia (Sarasota Opera), Zulma in L’italiana in Algeri (Opera di Treviso), Suzuki in Madama Butterfly (New York City Opera), Erika in Vanessa (Chautauqua Opera), and Meg in Little Women (Skylight Opera) under the direction of Mark Adamo. While a member of the Domingo-Cafritz Young Artist Program at Washington National Opera, Ms. Alkema sang Clotilde in Norma, Alisa in Lucia di Lammermoor, Flora in La traviata, and Angelina in La Cenerentola. Also at Washington National Opera she has performed Contessa di Coigny in Andrea Chénier, Madeleine Lee in Democracy by Scott Wheeler, and the Second Lady in Die Zauberflöte.
On the concert stage, Ms. Alkema has worked with such notable conductors as Plácido Domingo, Emmanuel Villaume, Ricardo Frizza, Heinz Fricke, Antony Walker, and Ann Manson. A frequent recitalist, Ms. Alkema is currently on the roster of the Marilyn Horne Foundation, which sponsored her New York recital debut. She has done many residencies with the Foundation including recitals in Oberlin, Ohio, Winter Park, Florida, Brownville, Nebraska, and for the Art Song of Williamsburg concert series.
Ms. Alkema has been a member of several prestigious young artist programs including the Santa Fe Opera and the Music Academy of the West, under the tutelage of Marilyn Horne. She has also been the recipient of prizes from the George London Foundation, Opera Index Competition, Liederkranz Foundation, and Loren L. Zachary National Voice Competition.
(Updated August 2014)
|Anna Bolena||Anna Bolena|
|Maria Stuarda||Maria Stuarda|
|Don Giovanni||Donna Elvira|
|Le nozze di Figaro||Contessa Almaviva|
|La clemenza di Tito||Vitellia|
|Cosí fan tutte||Fiordiligi|
|Madama Butterfly||Cio-Cio San|
|Manon Lescaut||Manon Lescaut|
|La Donna del Lago||Elena|
|Il turco in Italia||Fiorilla|
|Un Ballo in Maschera||Amelia|
|Simon Boccanegra||Amelia Grimaldi|
|Don Carlo||Elisabetta di Valois|
(Updated – Mar 2014)
“Alkema is a singer who is going through a wonderful international circuit of opera houses, and she is very likely to then make the leap to the leading opera houses of the world. Beautiful, physically graceful, and equipped with a sound that captivates and defines sensitivity from beginning to end, she is a diva in the actual sense of the word. Her musical instrument is beautiful and sings (or moves) through the musical notes with the skill of an artist that makes it possible for her to embody roles of both mezzo and soprano. Her final scene was the highest peak of the overall aesthetic characteristics that we have outlined in reviewing this production”
Enrique Morales Lastra, El mostrador, August 6, 2014
“Three years after leaving a positive impression with her debut in Chile in another Verdi opera, Simon Boccanegra American soprano Keri Alkema returned to incarnate for the first time in her career Desdemona, and her performance was superb, both for its stage presence and especially for its rich, warm voice, good volume and power, which is well suited to Verdi roles, particularly showing off the fourth act, with a soulful delivery of “Willow Song” and “Ave Maria”
BioBioChile, by Johnny Temperman Aug. 4, 2014
“The American soprano Keri Alkema, who debuted in Chile in 2011 as Amelia in Simon Bocanegra, embodied a very solvent Desdemona, with a full voice and pianissimo in order harmonics, secure in the musical and expressive as an actress.”
El Mercurio by Juan Antonio Munoz, Aug. 4th, 2014
“Three years after a positive impression already aroused with the debut in Chile in another Verdi opera, Simon Boccanegra, the American soprano Keri Alkema has returned to embody for the first time in his career Desdemona. Its yield was wonderful, both for the stage presence is primarily for voice, rich and warm, with good volume and power, very suited to Verdi roles, shining particularly in the fourth act, with a heart-warming song and Willow Ave Maria.”
Joel Poblete,apemusicale.com, August 6, 2014
“Gigantic voiced too, Keri Alkema seems to have no limits whatsoever in the bass or the treble. A voice with indefinite identity, as evidenced by a career that encompasses roles like Cenerentola and Mimi, Giovanna’s fatal flaws,ambitious predator or victim torn apart by conflicted feelings. Her duets with the King in Act I and Queen in the second, are two of the highlights of the performance.”
Christophe Rizoud , ForumOpera.com, June 8, 2014
“Keri Alkema, mid-soprano, mid -mezzo, assuming full range of Giovanna Seymour for a luscious and beautifully voice that knows how to be virtuous.”
François Lesueur,ConcertClassic.com, June 8, 2014
“Other important roles were sung remarkably by Keri Alkema (Giulietta)…”
Marcio Bezerra,Palm Beach Daily News March 23, 2014
“As Giuletta, the courtesan who horribly betrays Hoffmann, the soprano Keri Alkema brought a dramatic manner and an imposing voice to the role. In an opulent, dark-hued voice, well-centered and with an even vibrato, she radiated seductive menace as she persuaded Hoffmann to surrender to her his reflection.”
David Fleshler, South Florida Classical Review, March 22, 2014
“Still, the most powerful moments came in the final act, as the resigned Elisabetta (Keri Alkema) sang the evocative “Tu Che le Vanità,” an aria in which she wishes for her death. Alkema spun out long phrases of a shimmering, golden tone, suspending the softest notes in the air with incredible control that drew the audience toward the stage, leaning in for more.”
Natalie Zeldin, Austin Chronicle, November 29, 2013
“And in the great diva role of the piece, Vitellia, Keri Alkema has a rich, full vocal presence that caresses the score to perfection…”
Richard Ouzounian, Toronto Star, February 3, 2013
“Vitella is the former Emperor’s daughter, enraged at not having been chosen to be Tito’s wife, who, in the opera pushes Sesto, her lover, into his treasonous acts. She should be a woman consumed with passion – and when Alkema delivered that passion, she was brilliant, mesmerizing.”
Robert Harris, The Globe and Mail, February 4, 2013
“Golden-voiced American soprano Keri Alkema is vocally brilliant as Vitellia, the female catalyst for the story of ambition and betrayal which is ultimately resolved by the pardoning grace of Roman emperor Tito…”
John Terauds, Musical Toronto, February 4, 2013
“American soprano Keri Alkema, last heard locally as Giulietta in Hoffmann, outdid herself as a tremendous Vitellia.”
La Scena Musicale, February 4, 2013
“The fourth excellent performance is arguably the single most important one in the whole opera. Keri Alkema’s Vitellia needs to be able to make us believe that she can make a man murder his best friend out of love for her, even as she outrageously pursues someone else. Vitellia is not an attractive human being, even though she is eventually tormented by remorse in the last part of the opera. Alkema manages all of it: the demanding high-maintenance diva, the capriciousness, sense of entitlement, and even the birth of compassion & a human heart in the latter part of her portrayal, all sung powerfully.”
Barczablog, February 4, 2013
“Soprano Keri Alkema gave a compelling, sympathetic portrayal of the doomed Anna. Alkema’s mad scene was subdued and pathetic — no wide-eyed leering or rending of garments — and her shift at the end toward a state of serene acceptance rang absolutely true. Vocally, she was impeccable from start to finish, displaying impressive coloratura agility at the top and nicely varied colors in her lower register.”
Michael Anthony, Opera News, February 2013
“While the real Anne was no angel, Keri Alkema made the monarch a bastion of strength, fire and compassion, her voice and stage presence dominating each scene she inhabited. From her tempestuous encounters with her cruel husband to the gently delivered recollections as she awaited execution, Alkema presented a tour de force of power and subtlety, the mezzo-turned-soprano showing impeccable command throughout her ample range.”
Ron Hubbard, Pioneer Press, November 11, 2012
“Credit a phenomenal cast of American singers for the success of this production. First among equals is soprano Keri Alkema (Anne). Unerringly musical, with diaphanous top notes, Alkema’s timbres remain creamy after three hours of strenuous vocalism; she toggles convincingly between defiance and despair.”
Larry Fuchsberg, Star Tribune, November 12, 2012
“Keri Alkema in the title role endowed the unjustly beleaguered Anne with the right amount of naïve willfulness and passionate despair that characterize such heroines.”
William Fietzer, The Examiner, November 11, 2012
“Soprano Keri Alkema was lustrous as Giulietta…”
Arthur Kaptainis, National Post, April 11, 2012
“Keri Alkema’s plummy mezzo-like soprano had the right timbre for Giulietta.”
Joseph K. So, Opera, August 2012
“…three excellent sopranos to crown each act: Erin Wall’s glowing Antonia, Keri Alkema’s lusty Giulietta and Andriana Chuchman’s comically robotic Olympia.”
John Terauds, The Star, April 11, 2012
“Starting with the mechanical Olympia and progressing through the tragic Antonia and the wanton Giulietta (sung respectively and gloriously by sopranos Andriana Chuchman, Erin Wall and Keri Alkema)…”
John Coulbourn, Toronto Sun, April 11, 2012
“Keri Alkema’s seductive and commanding Giulietta…”
Axel van Chee, Charlebois Post, April 11, 2012
“Keri Alkema brings sensuality and a strong presence to her manipulative Giulietta.”
Jon Kaplan, Now Toronto, April 20, 2012
“Norma is not a one-woman opera, and, despite ‘Casta diva’, duets and ensembles are more central to its texture than solo arias. So Norma needs more than adequate singing partners, and here too Opera North have come up trumps. In Keri Alkema they have an Adalgisa to match [Annemarie] Kremer and provide the balance of equals which ensures that their extended duets, at once touching and brilliant, come off wonderfully.”
Anthony Arblaster, The Independent, January 30, 2012
“As her guilt-ridden rival, Adalgisa, Keri Alkema provides sterling support…”
George Hall, The Guardian, January 29, 2012
“American soprano Keri Alkema brought a rich, creamy tone to the role of Adalgisa, which blended beautifully with Kremer’s voice both in this trio and in the famous duet ‘Mira o Norma’, one of the highlights of Act II.”
Laura Kate Wilson, Bach Track, January 30, 2012
“Keri Alkema matches [Annemarie] Kremer note for note and gesture for gesture…”
George Hall, The Stage, January 30, 2012
“The most substantial of the secondary roles is that of the young novice priestess, Adalgisa, for whom Pollione ditches Norma. Keri Alkema has a strong soprano voice – more powerful than Annemarie Kremer’s which could have posed balance problems in their duetting in the second act. There were no worries here though. In music that is arguably the finest in the opera, I found the duets the performing highlight. The conductor and singers had clearly worked very hard at this and the result was moving, musical perfection.”
John Leeman, Seen and Heard, January 31, 2012
“Well one good interpretation deserves another. The Adalgisa of Keri Alkema was similarly world class – a rich, mellow soprano, singing over a wide tessitura (some hair-raising high notes thrown in). Dramatically she may have been overshadowed by Kremer, but vocally she was every bit the high priestess’s equal. Their duets were the last word in élan and her sense of line was magnificently well assured. How refreshing it is to hear such singers, so supremely in command of what they are singing, no strain, no tentativity, no sign that they are out of their depth. Together, they made a formidable pairing.”
Antony Lias, Opera Britannia, January 30, 2012
“The American soprano Keri Alkema, another Leeds debutante, was a forceful, full-toned Adalgisa, and a good match for Norma. She was also asked to sing in a variety of positions, including rolling down the sloping stage. Their two duets were highlights…”
Martin Dreyer, Opera, April 2012
“The young cast in this production by David McVicar play it perfectly, with Keri Alkema particularly impressive in the doomed Mimi’s deathbed scene, which had me sobbing my eyes out.
William Hartston, The Daily Express and Express.co.uk
“Keri Alkema’s Mimi masters the conflict of weakness with a powerful voice with total conviction, never once betraying the fragility of the role.
Andrew Kay, Latest7 Magazine
“The American soprano Keri Alkema (Maria/Amelia) gave a brilliant performance from start to finish. She has an interesting timbre: a robust, rich color with a splendid power in the middle and low that is very close to being a dramatic voice. Amelia’s character is often the stereotypical wimp, but with Ms. Alkema’s material, she acquires a very interesting maturity and commanding personality.”
Mario Cordova, Diario Las Ultimas Noticias, August 19, 2011
“Another high point was the interesting soprano Keri Alkema, a very expressive Amelia Grimaldi. Her voice is secure in all registers of the tessitura, with beautiful colors and forte and piano.”
Andres Yaksic, El Mercurio, August 19, 2011
“Conlon had a sturdy team of soloists in Keri Alkema, Ekaterina Semenchuk, Rodrick Dixon and Brian Mulligan. Both women were excellent. Alkema caught the soaring rapture of the nightingale sequence (soprano and chorus).”
John von Rhein, Chicago Tribune, August 5, 2011
“In her festival debut, Alkema’s big, glorious soprano captured the drama of the story.”
Janelle Gelfand, Cincinnati.com, May 28, 2011
Soprano Keri Alkema sang Fiordiligi gorgeously, with voluptuous higher notes and a husky low end. She was thoroughly believable in Act Two, when she sang of the tremors of her heart (“Per pieta”) and finally succumbed to the pleas of her new suitor, that strange fellow with the fez and cheesy moustache.
Pierre Ruhe, Atlanta Journal Constitution
Soprano Keri Alkema sang Fiordiligi with a rich, secure sound and fine technique. Hugely talented, she seems to have burst onto the scene in the last year or so after switching from the mezzo register. Mozart loved his sopranos, and gave them his best music. None of it was wasted on Alkema, whose portrayal of frailty and sensitivity served to pull the evening back from farce to melodrama.
James L. Paulk, ArtsCriticAtl.com
Soprano Keri Alkema joins the line of distinguished sopranos who have excelled in the role of Fiordiligi in Atlanta. Her dark colored, full lyric voice was produced with sufficient sonority at the forte dynamic, and her higher notes were beautifully poised when sustained over the orchestra. This was best heard during the iconic trio “Soave sia il vento” where the limpid quality of her voice gradually dominated the wall of sound, much like the sun shining through the morning fog. Noteworthy also was her ability to produce the low emissions of her chest register in a similar manner as those in the higher plain, though it cannot be said that these extremes were homogenously equalized. In her first act aria, “Come Scoglio”, she successfully negotiated the majority of the score’s musical pitfalls, though what was offered up as a trill could not be accepted as such, and the ruthless sequence of triplets that mark the end of this testing aria left room for a more equalized execution. Both her act two solo offering, “Per pieta ben mio, perdona” and the subsequent duet with Ferrando “Fra gli amplessi” found her in commanding form, as she unleashed the voice in a fiery manner deigned to match the strange conflicts found in this character…she has the gift of a glamorous instrument and the opportunity to hone her craft that only youth can provide. Much is expected of this young lady, and her participation in last Saturday’s performance provided the musical highlights of the evening.
Daniel Vasquez, newoutpost.com [blog]
Keri Alkema suffused Elvira with such passion in her rage and longing that one expected the stage to start smoldering (which it eventually did)
Rob Hubbard, The Pioneer Press
the most successful was Keri Alkema’s Donna Elvira, who claims to be his wife. Her warm lirico-spinto soprano made easy work of the role’s coloratura demands, while delivering the most deeply felt performance.
William Randall Beard, The Star Tribune
soprano Keri Alkema stood out, standing in for Alexia Voulgaridou as Donna Elvira…she was in full control of her material and voice and was deeply affecting in her conflicted Act Two aria, “Mi tradi.”
Jay Furst, Post-Bulletin
The cast over all was strong, especially the immensely gifted soprano Keri Alkema, who was an exceptional Adalgisa…Her lustrous, affecting Adalgisa here revealed additional dimensions to her artistry. In the scenes between Norma and Adalgisa, especially the classic duet “Mira, o Norma,” Ms. Meade and Ms. Alkema sensitively blended their voices. Later, when the priestesses decide to forsake Pollione and pledge sisterly comradeship, Ms. Meade and Ms. Alkema sang with infectious ease and joy. The ascending scales in thirds were easily in sync and perfectly in tune.
Anthony Tommasini, New York Times
Keri Alkema was for me the star of the evening. She was all that one could want in an Adalgisa. Beautiful singing, dramatic, involved and she easily conveyed the vulnerability and tenderness of Adalgisa.
Don Levine, Opera-L
Alkema recently switched from mezzo to soprano repertory, and that’s evident in the unusual power she commands in her lower register…she sang with gorgeous, dramatically incisive tone and revealed great facility in coloratura.
Mike Silverman, AP
[Ms.Alkema's] duets with Miss Meade require more than one mention, so beautiful were they. The two women faced each other and sang perfectly timed parallel vocal lines with precision and care. A joy to hear.
Taminophile’s Blog: Opera’s Golden Age
Keri Alkema was an outstanding Donna Elvira, who wielded easy power in a tireless “Mi tradi” and threw herself vigorously into her “church lady” characterization.
James Jorden, New York Post
Donna Elvira, the compelling, rich-voiced Keri Alkema (formerly a mezzo-soprano, making her role debut as a soprano), carries a beat-up suitcase, a poignant symbol of this obsessed character’s pursuit of Giovanni, who has jilted her.
Anthony Tommasini, New York Times
Keri Alkema has previously sung Suzuki (in “Madama Butterfly”) at the NYCO, so this appearance as Donna Elvira marks her debut as a soprano. She, too, has exactly the right sound for the role: strong, agile, and crystal-clear. Her runs and arpeggios are articulate and rhythmically faultless, with spot-on intonation.
Andrew Farach-Colton, Classical Source
Not making their debuts, but making their presence known, are Keri Alkema as jilted Donna Elvira, who may be doing the most exquisite work of all.
David Finkle, TheaterMania.com
Keri Alkema owns the stage as the fantastically obsessive Donna Elvira.
Justin Davidson, New York Magazine
Keri Alkema’s slightly rough-edged Donna Elvira was the most vivid.
F. Paul Driscoll, OperaNews
The two main women’s roles – the greatest bugbears in the opera – were brilliantly filled by the demonstrative, big toned, previously-mezzo-now-soprano Keri Alkema as Elvira and the more brightly and delicately toned but still potent (and vocally agile) Stefania Dovhan as Donna Anna. Neither singer approximated or faked a moment of her role; here are two new major singers with grand breath control, accurate pitch and coloratura and fine acting abilities.
Robert Levine, ClassicsToday.com
Stefania Dovhan and Keri Alkema were blazing powerhouses as, respectively, Donna Anna and Donna Elvira
Scott Cantrell, The Dallas Morning News