| |
|
Chautauqua Opera- Werther
Keri Alkema created an emotionally tormented Charlotte, with technically secure and emotionally anguished singing.
-Karyl Charna Lynn
Opera Now, November/December 2007 |
|
Chautauqua Opera- Werther
Keri Alkema won her shot at Charlotte with her acclaimed performance last year as Erika in Barber's Vanessa. Hers is a fine voice, a plush lyric mezzo with reserves indicating potential development into heavier repertory; range extremes gave her no problem at all....
-David Shengold
Opera News, November 2007 |
|
Chautauqua Opera-Werther
Keri Alkema, our Charlotte, also has a large voice possessed of every color of the rainbow. Her dark, rich, heavy singing made it very clear why a man would devote his life to her without hope. I found her diction immaculate.
-Robert W. Plyer
The Post Journal, August 7, 2007 |
|
New York City Opera- Madama Butterfly
Revelation number two was the superb Suzuki of newcomer Keri Alkema, probably the best Suzuki in my recollection. The voice is rich and full, and in particular on the act three lines "Piangera tanto tanto..piangera tanto," you heard a brilliant top and exciting lower register, whetting your appetite for a future Carmen or Delilah. The role of Suzuki usually passes for not much, but last night it was a special treat to hear this marvelous young lady.
-Charlie Handelman
The Metropolitan Opera Guild Discussion Board, April 07' |
|
Opera Naples- Madama Butterfly
Keri Alkema, a young mezzo-soprano with a number of awards, was outstanding in the role of Suzuki, Butterfly’s hand maiden.
-Bill Klauber
Naplesnews.com, March 16, 2007 |
|
Opera Naples- Amahl and the Night Visitors
Keri Alkema was wondrous as Amahl’s mother. She’ll be heading next year to work with the New York City Opera, and it’s easy to see why. Alkema conveyed so much emotion with her strong voice, yet she never forgot to do the same with her acting.
-Charles Runnells
The News-Press of Southwest Florida, November 14, 2006 |
|
Chautauqua Opera- Vanessa
Erika is a role that has made many a young mezzo-soprano's reputation, beginning with its original creator, Rosalind Elias, in 1958. Keri Alkema may well be another. Her portrayal was immensely sympathetic and hauntingly sung. The voice is full, beautiful, evenly timbre'd throughout its considerable range. With her similarly artful dramatic technique she can suggest all too accurately that she has little to protect her against
the brusque onrush of despair.
-Clair W. Van Ausdall
The Chautauquan Daily, August 7, 2006
Keri Alkema’s voice burned with Erika’s anguish and emotional conflicts, effectively conveying her inner struggles, especially during the aria when she turned down Anatol’s proposal of marriage.
-Karyl Charna Lynn
Opera Opera, August 2006
|
|
|
