“Keri Alkema has a rich, full vocal presence


that caresses the score to perfection.”




Alkema is the most convincing Tosca I’ve ever seen

-Barczablog, May 2017

Alkema is a world-class Tosca

-Schmopera, by Molly Simoneau, May 2019

her “Vissi d’arte” was meltingly affecting

-The Washington Post, Anne Midgette, May 2019



Donna Elvira in Don Giovanni at Washington National Opera

“Which brings us to the show’s pivotal moment, sung by Cafritz Young Artist program alumna, American soprano Keri Alkema. Her lyric and dramatic qualities made my heart race during her flat-out fantastic delivery of “Mi tradi quell’alma ingrata.” It is the moment Elvira – and the audience, if we’re paying attention – comes to terms with how evil excites and pleases us, maybe even serves our own furtive aims. It was an alchemical moment where emotion, music, and visual cues viscerally accelerated the momentum toward the coming destruction of Giovanni…”
-DC Metro Theater Arts, Whitney Fishburn, March 2020

“Keri Alkema (Donna Elvira) shines particularly in “Mi trade quell’alma” when alone, she sinks to the floor. Dramatically it’s a high point in this production, as if a camera has rolled in for a close up. The singer is allowed to do what she is meant to do, bring us into the psychological inner workings of her mind. The aria is so beautiful, her expressed love so sympathetic, it makes a case for Don G.”
-DC Theater Scene, by Susan Galbraith, March 2020

“ Alkema’s Mi tradi and Ah, fuggi il traditor were among the evening’s highlights – a stunning, beautiful sound through the whole voice in some of Mozart’s trickiest vocal writing. …. Keri Alkema (Donna Elvira) and Kyle Ketelson (Leporello) make the most sense of their roles. Alkema embraces Elvira’s upper-class haughtiness, but never at the expense of her humor and empathy. Plus, she turns getting up from the floor in a huge dress into an art form! “
-Broadway World, by James McQuillen, March 2020

“Perhaps the strongest singers of the evening were those whose characters I’ve always felt the most sympathy for. ….. Donna Elvira is maybe the most complex character this opera unfurls. Keri Alkema, masterful vocal artist, exposed her character’s tragic depths with heart and authority. “
-Bachtrack, by Sydney Boyd, March 2020

“Soprano Keri Alkema’s acting and singing gave us a Donna Elvira who amused us and then softened our hearts; I remember her Tosca fondly from this past WNO season. “
-Operagene, March 2020

“Keri Alkema gives a sassy performance as the jilted lover. I had to restrain myself from calling out “you go girl!” when she gets the righteous vengeance of the woman scorned.”
-Mooney on Theater, by Keira Grant October 2019

“Keri Alkema’s Donna Elvira…put out rich sound edged with satin, a slight haze of fantasy. “
-The Washington Post, by Matthew Guerrieri , March 2020

Foreign Princess in Rusulka at Canadian Opera Company

“Soprano Keri Alkema returned to the COC for her fifth role, as the Foreign Princess. The character only appears in Act Two, but Alkema seized the moment, singing generously. It also didn’t hurt looking like a million dollars, bedecked with a ton of over-the-top jewelry.”
-Ludwig van Toronto, Joseph So, October 2019

“There is a second also with glorious tone and presence: Keri Alkema as the Foreign Princess, capturing the right degree of thwarted entitlement. (Let’s face it, she is the logical choice for the Prince – but if logic ruled there would be no drama.)”
-Concertonet, Michael Johnson, October 2019

Cio Cio San, Madama Butterfly at Teatro Carlo Felice – Genova

“American soprano Keri Alkema masterfully brought to life the tragic Japanese Geisha. It is hard for any adult soprano to act as a convincing fifteen year old (“quindic’anni”) in the first act, but Alkema managed to be that innocent girl both vocally and dramatically. The contrast in both her deportment and her timbre between the first and second acts was tremendous. Though not a native speaker of Italian, Alkema’s diction was exemplary: “Noi siamo gente avvezza, alle piccole cose umili e silenziose” in the Act I love duet, “Oh, mi fate tanto male, tanto male, tanto, tanto” in her Act II exchange with Sharpless and most of all “Troppa luce è di fior, e troppa primavera” when she realizes Pinkerton isn’t coming back. She masterfully conveyed Butterfly’s modesty, dignity and despair in these three phrases respectively, with an uncanny naturalness.”
-Concertonet, by Ossama el Naggar, June 2019

Tosca, TOSCA at Washington National Opera

“As Tosca, Alkema does the program proud, skillfully tackling this challenging role which calls for delicate and then declamatory singing, and intense, emotionally taxing acting. Alkema is a world-class Tosca, charming the audience in the act one duet, before ripping their hearts out in act two, navigating the extreme vocal passages where Tosca desperately pleads for mercy, and then, yes, stopping time.

Those first two, iconic, unforgettable descending vocal lines of “Vissi d’arte” seem to arise from nothing, sung in a tissue-paper delicate pianissimo. Alkema achieves something that is so rare in performances of this well-known aria: subtlety. Her prayer rolls out of her mouth softly, in a way that makes the words seem new, as if I hadn’t heard them sung a thousand times before, by two dozen other sopranos. This exquisite rendering of the diva’s anguished prayer makes it all the more viscerally compelling when the she finally delivers “Tosca’s kiss” to the villainous Scarpia with a chest voice that made me want to hoot and fist pump.In the third act, Alkema played a Tosca who was visibly shaken by the trauma of the previous scene, a Tosca who dared not hope for a happy ending, and ultimately, a Tosca with nothing to lose. Alkema’s beautifully nuanced performance is more than worth the trip to the Kennedy Center, and that’s before accounting for the luxury casting of Alan Held as the despicable Scarpia.”
-Schmopera, by Molly Simoneau, May 2019

“Keri Alkema is a beast as Tosca, and she returns triumphant to this stage, for she started her career as a member of the inaugural Domingo-Cafritz class. She seemed fearless opening night – as reckless as the “drama queen” her character Floria Tosca must be. One moment almost deliriously pious, the next wantonly hungry and wrapping limb to limb with lover Cavaradossi and practically drinking him up, then in jealous outrage accusing and pushing him away – and these are just her warm up moments! Later in the opera after such an emotional and vocal steeplechase, Tosca has to rein everything in and go inward in the opera’s rare moment of reflection. What do I stand for? Alkema starts center stage seated on the floor, beginning by spinning out a gossamer thread of sound in “Vissi D’Arte,” a gorgeous, heartbreaking aria most beautifully rendered.”
-DC Theater Scene, by Susan Galbraith, May 2019

“Of course, Tosca is about its heroine and famous arias and, here, none disappoint. In the title role, Keri Alkema is utterly credible. She is volatile but warm, strong but human. She holds herself with a poise that is at once essential to her nature, but also, in the face of Scarpia’s pressure, a last vestige of strength that is full of pathos. When she sings “Vissi d’arte” while facing the prospect of giving sexual favors in exchange for Cavaradossi’s life, it is easy to believe in her shock at the loss of her happy life to the uninvited horror of her lover’s torture and her own impending fate. Tosca is engaging and nuanced, and Alkema sings her with everything this woman must be. With a soprano that is at once as richly sparkling as it is powerful, this is Puccini delivered to the universe. To close one’s eyes and listen to this Tosca’s heart, is to thank the gods (Norse or otherwise) that Washington has a world-class opera. That Alkema began her career as one of the first of the Domingo-Cafritz Young Artists is just icing on the cake.”
-Metro Weekly, by Kate Wingfield, May 2019

“Alkema (Tosca) deftly communicated her anguish and desperation in Vissi d’arte vissi d’amore (I live for art, I live for love) with a soaring soprano that effortlessly negotiated the music’s vocal and dramatic demands. “
-MD Theater Guide, by Jeannette Mulherin, May 2019

“Keri Alkema, as Tosca, had a second role as local-girl-made-good, in that she was part of the original Domingo-Cafritz Young Artist Program in 2002-2004 (as a mezzo). To Tosca, a role she’s sung a number of times around the world, she brought a distinctive touch: not over singing or forcing her voice but bringing out the creamy gentleness in parts of the role, a soft quality in a character known for her steel. Her high notes were a little wiry, but her “Vissi d’arte” was meltingly affecting, particularly at the end. And in Act III, when she reunites with Cavaradossi before their tragic end, she sang so affectingly that she made music I don’t usually find especially interesting a highlight of the evening.”
-The Washington Post, Anne Midgette, May 2019

Giovanna Seymour in Anna Bolena at Candian Opera Company

“As the upwardly-mobile Giovanna Seymour, Keri Alkema gives us the best singing of the night – and in spades. Alkema was on the top of her game as well as everyone else’s if you ask me. Her range is out of this world. Alkema’s Giovanna was also adept at displaying the dramatic dichotomy that Seymour faces – her feelings for and duty to the King and her loyalty to her friend and queen.”
-Schmopera, by Greg Finney, May 2018

“Keri Alkema also gave a wonderful performance. Her Tosca, Vitellia and Giulietta at the COC did not prepare me for her incredible Jane Seymour. Her warm and gleaming soprano was a pleasure to the ear, and her portrayal was entirely sympathetic. Giovanna is usually sung by a high mezzo, but in this case, Alkema’s timbre is even a touch lighter than Radvanovsky’s. The two blended beautifully in their duet and they played off each other beautifully.”
-Ludwig van Toronto, by Joseph So, May 2018

“Alkema’s gorgeous tone and empathic dramatic instincts help her establish Giovanna’s conflicted nature…”
-Now Toronto, by Glenn Sumi, May 2018

“…and the moments when Alkema and Radvanovsky sing together are some of the most transcendent of the entire show. Not only is their singing is intense and lyrical, but the combined richness of their characterizations clashing together after long scenes apart makes for absolutely stirring drama.”
-Mooney on Theater, Lin Young, May 2018

“Keri Alkema, (Giovanna Seymour)…was more and more convincing as the opera progressed and powerful in her last scene with Enrico, when she is finally allowed ascension to the throne. The vocal line sounded almost effortless, sculpted smoothly and precisely, and the acting became more involved.”
-Opera Canada, by Lydia Perović, April 2018

Amelia in Simon Boccanegra at Opéra de Dijon

“ Keri Alkema, splendid lyrico-spinto soprano, familiar with Verdi, plays with a sensitive, touching Amelia, with the broadest ambitus, warm, with superb trebles. From his first tune “S’inalta il ciel”, the qualities are obvious. The voice is long, the roundness and the softness compete for power. “
-ForumOpera, by Yvan Beuvard, March 2018

“The Amelia by Keri Alkema ………Little by little, it refines and gains in intensity. The dramatic accents of her imposing voice feed her interpretation, marked by a dark timbre and a worked phrasing. It even delivers in the final of act I a jewel of messa di voce (sequence of a crescendo and a decrescendo on a note kept). “
-Olyrix, by Damien Dutilleul, March 2018

“…. the soprano Keri Alkema imposes a generous song, embodying an Amelia full of tenderness with a perfectly adapted and slightly vibrant tessitura.”
-Concert Classic, by Michel Le Naour, March 2018

Tosca in TOSCA at Palm Beach Opera

“Keri Alkema gave an extremely effective portrayal of Roman opera star Tosca, more girlish and vulnerable in the first act than the raging diva of most interpretations. This had the effect of heightening the impact of the fortitude and courage she summoned up in the second act to face down the terrifying police chief Scarpia.
The American soprano’s plush, dark-hued voice carried easily over the orchestra, yielding many powerful moments aside from set-piece arias – her pleading for Cavaradossi’s life, for example, when she denounces Scarpia as a monster. Her aria “Vissi d’arte” had both the raw emotion and a spontaneity, her pleasing desperation, singing “Perché, perché, Signore” as if speaking at that moment to God.”
-South Florida Classical Review, by David Fleshler, January 2018

“Keri Alkema portrays Floria Tosca as a true diva, bringing out the humor of her extreme jealousy, the sincerity of her religious faith, and the depth of her love for Cavaradossi. Her ‘Vissi d’arte’, in Act Two when she is in the company of Scarpia, Cavaradossi being tortured by the Baron’s henchmen, is artfully phrased – powerful and moving. Another highlight is her gloriously sung Act Three duet..”
-Classical Source, by David M. Rice, January 2018

Amelia in Un Ballo in Maschera at Gran Teatre del Liceu

Keri Alkema, who replaced Ekaterina Metlova as Amelia, also interpreted this character in the Toulouse premiere of the production. Her voice is ample and attractive……The best part of her performance was the aria ‘Morrò, ma prima in grazia’…”
-Seen and Heard International, José M. Irurzun, October, 2017

Tosca in TOSCA at Oper Frankfurt

“…American soprano Keri Alkema in the title role. A firm and plump stature that also seems to be transferred to the luminosity of her voice. It is not for nothing that the demanding role of Tosca is one of its central roles. She had her best moments – also acting – in the second act…
-Frankfurter Neue Presse, by Matthias Gerhart, June/July 2017

“Keri Alkema is a confident singing Tosca singer who differentiated and effortlessly realized the musical requirements.”
-Der Opernfreund, June/July 2017

Tosca in TOSCA at Canadian Opera Company

“Keri Alkema as Tosca gradually won me over more and more. While I enjoyed her work in the first two acts, including the big aria, it was the last act that left me all verklempt and teary-eyed at the end. I don’t think I’ve ever seen a Tosca who persuaded me that she is a different person at the end, at least until now. She seems shaken at what she’s done –the pious innocent who has killed Scarpia—and now is a very dark and troubled woman in that last scene. The other Toscas I’ve seen usually play optimism and hope, setting you up for the disappointment of the fake execution and pursuit. For whatever reason, Alkema made me believe she truly did feel sorry, after the lines in Act II “È morto!Or gli perdono!” (“he’s dead. Now I forgive him”). In some productions these lines make me giggle because they are so difficult to do without seeming ridiculous, absurd. But that’s the thing. Alkema doesn’t do so much of the grinning one sees in the last act of a Tosca. For whatever reason –partly due to her chemistry with her Cavaradossi, Kamen Chanev—she is not there to cheer up her despairing painter. Once he sees her, he is the smiling and adoring one, while she seems ashamed, profoundly upset with herself. When Chanev sang “oh dolci mani” it was the first time I really got this aria, really understood what the opera is doing at this moment, possibly because at this moment Cavaradossi is trying to console her, to remind her who she is (a good person?) in the face of her horror at what she’s done. Who thought that after so many productions, they’d show me something new? This was the most moving “Trionfal” I’ve ever seen. Most moving? Perhaps it’s the first time I have ever seen this moment really work! If you know the opera, you know that Act III opens with an epic utterance from the horn section, a magnificent uplifting tune capturing the spirit of hope that might come to fruition if the plot turns out the way Floria Tosca hopes it shall. This mysterious melody comes back, in the bold declaration by Tosca & Cavaradossi just before the mock execution (that is actually a real one due to double-cross), the boldest singing as they stare down-stage at us, defying us to doubt their resolve, daring us to tell them that they will not succeed. It works as a tragedy if the characters have been properly developed, more than two-dimensional cartoon cut-outs. And yes Chanev and Alkema sing this passage beautifully. We dare to hope for a different outcome, believing it might end differently this time.

I know. It’s not rational. But wait, there’s quite a bit more to come and hahahah I won’t tell you too much because I don’t want to steal the tears out of your eyes, should you perchance come see it. I will say that Alkema is the most convincing Tosca I’ve ever seen in her moment of heart-break, when she goes from “let’s go Mario” (to run away for the happy ending) to “let’s go Mario” (body language and face telling us what she takes in, that he’s not okay, …will never be okay). And the rest? Yes there’s more that’s very good. I couldn’t make a sound for quite awhile, although I did manage to recover in time to offer my applause.”
-Barczablog, May 2017

Tosca, in TOSCA, at English National Opera

“Tosca calls for three outstanding voices, and here is a cast to treasure: Keri Alkema making her role debut as Floria Tosca is already booked to sing Tosca in Frankfurt and Toronto, and that will be just the beginning. With her passion and her stupendous capacity to sing to the rafters and also with great delicacy she goes straight into a special league of singers to watch.”
-CultureWhisper, by Claudia Pritchard. 2016

“By now, over the course of a day, Tosca has been through the emotional wringer — and so have we, thanks to Keri Alkema’s compelling debut in this role on the English National Opera stage. Passionate, teasing, vulnerable, full of love, stirred to vengeful rage and desperate measures, Alkema gets to the heart of Tosca, giving us a poised ‘Vissi d’arte’ on the way.”
-The Times, by Rebecca Franks, October 2016

“American soprano Keri Alkema makes a notable ENO debut as Tosca. Her voice is not as darkly hued perhaps as many Toscas, and that may also be its strength. She can shape her sound and assert it powerfully while still maintaining a certain element of lightness. Her soprano thus seems to fit her portrayal of the singer perfectly, and it just gets better as the evening goes on. Her death as she falls backwards off the ‘parapet’ is also one of the most convincing you are ever likely to see.”
-Sam Smith, MusicOMH, October 2016

“The American soprano Keri Alkema and the Welsh tenor Gwyn Hughes Jones sing those two roles beautifully and with great force that perfectly matches the power with which the orchestra plays under the conducting of Oleg Caetani. The sheer volume he attains at times would be enough to drown most singers, but these two match it in impressive. “
-Express, by William Hartston, 2016

“As Floria Tosca herself Keri Alkema provided warmth, with a voice that sailed through the registers with ease, not least in Act Three when confessing to Cavaradossi that she has killed Scarpia, producing a spectacular drop from a high-C to notes below the stave with creditable projection in her chest voice, and, despite poor diction at times, inhabited the varied strands of her character – jealous lover, devout believer, capricious yet vulnerable girl.”
-Classical Source, by David Truslove, 2016

“The danger for any Tosca is being overshadowed by Scarpia’s mesmerising malevolence. American Keri Alkema, making her London debut, rises to the challenge. She has a strong stage presence and warm soprano…”
-Inge Kjemtrup, The Stage, October 2016

“Ms Alkema, who will sing the same role in Canada and Germany later this season, gave Tosca terrific emotional drive…her ‘Vissi d’arte’ in Act II was a fitting soliloquy to her sudden determination to kill the coldly calculating Scarpia.”
-Mark Ronan, October 2016

“Her Tosca (American soprano Keri Alkema) is a scrappier affair, but exciting in full spate, even if her “Vissi d’arte” suffers from emotional over-work.”
-The Independent, by Alexandra Coghlan, 2016

“…she knocked out some terrific highs and was particularly thrilling in the great confrontation with Scarpia, while Cavaradossi was being tortured, and there was some fine moments of sensitive singing, most notably in her “Vissi d’arte””
-Backtrack, by Dominic Lowe, 2016

Donna Elvira in DON GIOVANNI at Santa Fe Opera

“Elvira is one of the most difficult roles in the entire repertory, but supernova Keri Alkema delivered her seemingly impossible arias as easily as if she were singing “Twinkle, Twinkle, Little Star.” Her power and her fluidity were astounding. It is quite astonishing that Alkema started as a Mezzo, hearing her navigate those treacherous soprano runs. Plus I loved the character she created. Elvira, in the hands of a less gifted artist, can often come off as a whiny, petulant, screeching caricature. Not here. This was a woman wracked with the pain of betrayal, not to mention that effortless coloratura. As Madam Ooglepuss of the Kuklapoitan Players (how’s that for an archaic reference) would put it, Alkema is a coloratura-tura-tura!”
-Huffpost, by Glen Roven, 2016

“Keri Alkema, in an SFO debut, sings the unhappy Donna Elvira—by turns furious and forlorn, mocked and abandoned—with a fresh vitality we encounter only rarely. Her passionate accompanied recitative (Mozart’s greatest), “In quali eccissi, o Numi,” and aria, “Mi tradi,” are in themselves worth a visit to the Crosby Theatre.”
-Santa Fe Reporter, by John Stege, 2016

“Keri Alkema strikes a precarious balance between passion and jealousy with an ear and eye for just the right tone. She captures this in facial expressions, body movement and in the textures of her voice. When she tells herself to get to a nunnery at the conclusion of the opera, we want to cry out, “Please don’t.””
-Concertonet, by Susan Hall, 2016

“Keri Alkema deployed her meaty, zesty soprano to considerably fine effect as a spunky Donna Elvira, potently aggressive when required, but flexible and malleable when so scored. Her fluid coloratura brought real meaning to Mozart’s melismas and her stylish phrasing brought grit and humor to her relentless pursuit of justice.”
-Opera Today, James Sohre, 2016

“Keri Alkema was a no-nonsense Donna Elvira who managed to thwart Giovanni comically at every turn and yet maintain a tone of deeply offended passion…”
-Opera News, by Simon Williams, 2016

“As Donna Elvira, Keri Alkema remained convincingly angry throughout the evening: in the sextet she seemed genuinely enraged to discover she had just spent the evening with Leporello, and even her final attempt to sway Don Giovanni in the second act finale seemed born more of injury than amorous passion. Yet her quick temper and headstrong nature made the elegantly phrased doubt of ‘Mi tradì quell’alma ingrata’ all the more compelling.”
-Mundoclasico.com, by Jesse Simon, 2016

“Florida soprano Keri Alkema, in her Santa Fe Opera debut, impressed as Donna Elvira, displaying the dramatic energy and solid technique that this extraordinary role requires.”
-Operawarhorses, 2016

“ Keri Alkema, another singer familiar to COC audiences, was an excellent Elvira, with incredible breath control in “Mi tradi.””
-LudvigvanToronto,by Joseph So, 2016

Elizabetta in MARIA STUARDA at Seattle Opera

“When Donizetti wished to portray powerful women, he invested their music with imposing runs and leaping intervals..
Alkema’s large voice was used effectively in a portrayal of an insecure English queen, tormented by indecision as jealous of the attention that her captive cousin received from her intimate friend, Roberto Dudley, Earl of Leicester, and fully capable of using her power to destroy a rival.”

Operawarhorses, February 2016


“Singing alongside El-Khoury on Sunday was Keri Alkema as a stellar Elizabeth, who ….rose to wonderfully incisive, powerful singing as the show went on.”

The Seattle Times by Melind Bargren, February 2016


“…I was impressed by Keri Alkema’s delivery, especially her ability to maintain both musicality and clear diction on lines that rival Gilbert and Sullivan’s patter songs. “

gemmdalexander, February 2016

Cio Cio San in MADAMA BUTTERFLY at Teatro Municipal de Santiago

“In the Monday premiere, she [Alkema] once again displayed a voice filled with beautiful color and a even timbre, as well as good high notes and projected strength when necessary. She was particularly moving in her heart-rending delivery of “Che tua madre dovrà prenderti in braccio”, and as whole considering it was her role debut, she was a good Butterfly with an undeniable potential…”

Biblio Chile by Joel Poblete, June 24, 2015


“American soprano Keri Alkema was a great Cio Cio San, but the truth is that initially took part of the first act accommodate his character, suffering and emotional. However, over the opera she was winning security and since the beginning of the second act until the end showcased her talents magnificent and faced the audience with all its power and technical purity.”

Biobiochile by Johnny Teperman, June 2015

Mimi in LA BOHEME at Palm Beach Opera

”Keri Alkema was an exceptional Mimi, always alive and reacting to the drama and comedy taking place around her. Her dark, slightly covered sound imbued “Si, Mi chiamano Mimi,” with poignancy, almost like a foretelling of the tragedy that is to come. While Mimi is often almost lost in the bustle of the second act Café Momus scene, Alkema made every one of her interjections count. In the third act as her lover Rodolfo describes Mimi’s consumptive illness and his fear that she his dying, her reaction was heartbreaking. She sang “Addio, Donde lieta usci” with simple directness to Callegari’s sumptuous string underpinning. Alkema’s lower register glowed in the death scene as the lovers recalled their first meeting. She brought wonderfully varied dynamics and vocal coloring to her last moments, the final line almost rendered in a whisper. Alkema is a potent singing actress.”

South Florida Classical Review By Lawrence Budmen, January 17, 2015


”As Mimi, one of opera’s most beloved characters, Keri Alkema displayed a smooth soprano capable of a wide variety of coloration, from full-out passion to creamy high pianissimos. Her heroine was no delicate flower, but a real-world, many-sided young woman. Tentative in her first aria (Mi chiamano Mimi), Alkema came into her own with a moving Act 3 “Addio” and touching death scene. “

Palm Beach Daily News by Robert Croan, January 17, 2015


”The Lake Park-reared soprano Keri Alkema, who appeared in last season’s Contes d’Hoffmann and has been making inroads into the dramatic Verdi repertory, was Mimì (the production had been announced with Slovenian soprano Sabina Cvilak, but she was due to give birth this month and bowed out). You could hear Alkema holding back during her first moments on stage until she reached the “Il primo bacio dell’Aprile” section of “Mi chiamano Mimì,” and unleashed her big, dramatic coloratura voice. If her voice is outside the tradition of the smaller-voiced singers who have taken on this role, her work was no less enjoyable for that, and indeed it was a pleasure to hear the part sung this robustly, particularly in the “Addio, senza rancor” of Act III. Her acting was somewhat reserved in a role that’s pure melodrama, but there was enough good singing there to let us forget about character illumination.”

Palm Beach Arts Paper by Greg Stepanich, January 23, 2015.


”With all the magnificence of La Boheme, the stars of the show are delightfully portrayed by Dimitri Pittas in the role of Rodolfo and Keri Alkema as Mimi.
The love and passion of this couple’s romance captivated the stage. Their performance was masterful and cemented their place on the stage whether it was just the two or surrounded by a cast of 50, I couldn’t take my eyes off of Pittas and Alkema.”

Gay50wordpress.com, January 2015

Amelia in UN BALLO IN MASCHERA at Théâter du Capitole

“Noticed by Giovanna Seymour in Bordeaux last year, Keri Alkema, vocally near Sondra Radvanovsky, entered a new phase in her career. The singer has a beautiful fabric material, good technique enough to tackle the role of Amelia and beautiful intuitions, especially during the second act duet with Riccardo and face to her husband at the splendid ‘Morro, my prima in grazia ‘where breath, colors and expressions are admirable.”

ConcertClassic.com by François Lesueur, October, 2014


“For her debut in France, the American soprano Keri Alkema, Amelia, deploys an opulent, lirico-spinto voice made ​​of shadows and light.”

Classic Today News Blog, by Bruno Serrou October, 2014


“Keri Alkema (US) embodies a consistent Amelia, which delivers the best of its role in ‘Morro, my prima in grazia’ a beautiful intensity of expression.”

concertnet.com by Gilles Charlassier, October, 2014

Desdemona in OTELLO at Teatro Municipal de Sandtiago

“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

Giovanna Seymour in ANNA BOLENA at Opéra National Bordeaux

“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

Elisabetta di Valois in DON CARLO at Austin Lyric Opera

“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

Vitellia in LA CLEMENZA DI TITO at Canadian Opera Company

“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

Anna in ANNA BOLENA at Minnesota Opera

“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

Adalgisa in NORMA at Opera North

“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

Mimi in LA BOHEME at Glyndebourne Tour

“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

Amelia Grimaldi in SIMON BOCCANEGRA at Teatro Municipal de Santiago

“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

Donna Elvira inDON GIOVANNI at New York City Opera's new production

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

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