As SALOME |
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"Kelly Cae Hogan had all the physical requirements and a voice strong enough for the many climactic moments. She was fully committed to the character, from the dance's coy unveillings to the erotic kissing of Jokanaan's frighteningly realistic bloody head."
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Roy C. Dicks, The News & Observer
(Raleigh-Durham, North Carolina)
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"Metropolitan Opera soprano Hogan delivered a fetching and frightening Salome, her voice, vocal training, and experience every bit the equal of the part. (She portrayed the role with the Warsaw National Opera on tour in Japan earlier this season.) She projected the fickle seductiveness, the rage at rejection, and the self-centered insanity of a young girl with the potency and subtlety of a mature and experienced vocalist. The closing soliloquy with the head of Jokanaan was breathtaking."
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Ken Hoover, Classical Voice of North Carolina
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"This production soared on vivid vocal performances, well supported by a strong orchestra in the pit... Kelly Cae Hogan's work as the title character was, in the best of senses, the true caution of this production. Physically and vocally, Hogan's Salome was a woman whose all-eclipsing embrace of beauty left her unmoored from ethics, from sanity, on a voyage beyond all notions of good, evil, right or wrong."
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Byron Woods, Independent Weekly
(Raleigh-Durham, NC)
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"Astonishing voice: Audience overwhelmed. People enraptured by Salome whose powerful voice truly shone." | |
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Chunichi Shimbun - Nagoya, Japan
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"...Salome was admirably sung by the lovely Kelly Cae Hogan... Hogan's
powerful voice carried the drama... the ovation was enthusiastic when she concluded."
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Chris Shull - OPERA NOW
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"Commanding performance by Hogan in the title role... Hogan played the young
girl almost as an ingenue, singing potently but without the withering,
too-mature-for-her-age venom that many sopranos put into the role. In the
first long orchestral interlude, Hogan combined passion, rage, rejection and
incipient madness - and did it all with remarkable subtlety. Her "Dance of
the Seven Veils" was a mixture of the balletic and faux-tawdry... this Salome
was gripping throughout."
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Paul Horsley - The Kansas City Star
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As Leonora in IL TROVATORE |
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"The opera world is hereby put on notice that a new Leonora has definitively arrived in the person of Kelly Cae Hogan, a spectacular American soprano who has appeared with New York City Opera and Washington Opera, among other name companies. This was the first time Miss Hogan has sung Leonora. Kelly Cae Hogan: WOW!"
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Michael Redmond - Classical New Jersey
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"Soprano Kelly Cae Hogan brought a beautiful, polished vocal to her role as Leonora, as well as a sympathetic stage presence and touching musical insights."
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Kurt Loft - The Tampa Tribune
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"This listener had the pleasure of hearing Hogan about nine years ago, early in her career, and it was thrilling to hear how much richer her technique has become. In the Act I aria, Tacea la notte placida, the coloratura flourishes were elegant. In the tender act IV, D'amor sull'all rosee, she evoked the sorrow of her situation (her lover Manrico is in prison, slated to die) and sang with the most elegant pianissimo high notes."
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Al Cohen - St. Petersburg Times
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As Violetta in LA TRAVIATA |
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"Kelly Cae Hogan's golden-voiced Violetta was flexible & brilliant, grabbing a high E-flat with ease."
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Paul Somers - Newark Star Ledger
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"Hogan was riveting. Her interpretation was charming, vulnerable and believable: vocally strong and precise."
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M.A. Barnes - Augusta Chronicle
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As the Countess in THE MARRIAGE OF FIGARO |
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"Countess Almaviva was divinely sung by soprano Kelly Cae Hogan...delivered with exquisite phrasing, long developed lines, and shimmering tones...Ms. Hogan made the most of every nuance."
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S. Lewis - Classical New Jersey
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As Donna Anna in DON GIOVANNI |
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"The biggest voice in the cast was that of Kelly Cae Hogan as Donna Anna. In a word: Wow."
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Dean Smith - The News & Observer (Raleigh/Durham)
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"Kelly Cae Hogan, in her Cleveland Opera debut, is a real find as Donna Anna. Here is a singer who applies a shimmering soprano to Mozart's lines with instinctive expressivity. Hogan has both the elasticity and control to negotiate the role's coloratura demands, notably in 'Non mi dir.' And her Donna Anna is the epitome of dignity."
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Donald Rosenberg - Cleveland Plain Dealer
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"Lyrical outrage streamed radiantly from Kelly Hogan's Donna Anna."
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Nancy Raabe - The Birmingham News
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"Kelly Hogan is fierce and lovely in her portrayal of Donna Anna."
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Rebecca Lindwall - Cedar Rapids Gazette
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"The luminous voice of Kelly Cae Hogan, which we last enjoyed in last year's Salome, redeemed the role of Donna Anna."
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Byron Woods - The Independent Weekly (Raleigh-Durham, North Carolina)
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As TOSCA |
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"There was no power shortage for Kelly Cae Hogan (Tosca). Vocally Hogan and Lambrinos (Scarpia) ignited a few sparks with their sparring. Hogan also dug significantly into her soul in Tosca's 'Vissi d'arte' aria."
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Ken Smith - Newark Star Ledger
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"Soprano Kelly Cae Hogan enthralling as TOSCA...a complete performer in ways many artists never learn how to do. She has a beautiful voice: big, richly resonant, with great range and elegant tone quality. And she knows how to modulate it to reflect the meaning of the music she is singing...'Vissi d'arte' was powerful, beautiful, and heart-rending. Her stage persona is magnetic. From her first entrance she was Floria Tosca... Scarpia and Tosca grappled to great effect and the finale had plenty of punch. Hogan was great even when she was silently jumping to her death."
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Albert H. Cohen - Asbury Park Press
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"Kelly Cae Hogan has it in her to become one of the great Tosca interpreters...as close as I ever heard a singer come to matching Callas...she has the role nailed. She exhibited a clear, dark timbre in the middle and lower registers that rose with focused intensity to a rich, full high C. Hogan is a deeply resourceful artist who used her dramatic vocal gifts wisely, allowing the phrases to rise and fall in beautiful, expressive arches. 'Vissi d'arte' was delivered with assurance and skill from a sitting position on the floor of the stage. Hogan has the vocal skills to give a thrilling reading of this familiar and difficult aria, and that is exactly what she did."
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John Sayers - The News, Port St. Lucie, Florida
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As Rosalinda in DIE FLEDERMAUS |
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"Kelly Cae Hogan is radiant as Rosalinda. Her rich, vibrant voice is the only
one that consistently propels over the orchestra into the balcony. And she
toys so well with her character, who toys with all the others."
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Diana Nollen - Cedar Rapids Gazette
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"The lead roles are well-cast, all three have fine voices. Hogan is
superb in the Csardas." Edward
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Reichel - Deseret News
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"Soprano Kelly Cae Hogan made an uncommonly youthful and attractive
Rosalinda -- vocally, comedically and physically."
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Catherine Reese Newton - Salt Lake Tribune
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As Susannah in SUSANNAH - Hawaii Opera Theatre |
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Kelly Cae Hogan's Susannah proved to be the strongest character, dramatically as well as musically. Her acting was excellent and her lyric soprano, with its variety of timbres in different ranges, created a character both innocent and passionate. Her rendition of the Act II folk song "The trees on the mountains" with its threefold echoing "come back!" was especially enthralling.
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Ruth O. Bingham - Honolulu ADVERTISER
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As Hanna in THE MERRY WIDOW |
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"...the company debut of Kelly Hogan as Hanna was very professional ... her Valencienne was Elizabeth Futral, and their duets were perfectly euphonious."
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NYCO, Martin Mayer - Opera (London)
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"Hogan was able to capture attention vocally and dramatically, giving Hanna an attractive down-to-earth glamour that fit well with the story."
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Paul Sayegh - The Virginian-Pilot (Norfolk)
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"Kelly Cae Hogan, the merry widow Hanna, has an unusually rich soprano that is evenly produced from bottom to top, and sings with emotion and clear diction. Her two big arias were sung with such beauty and ease that they elicited loud cheers and whistles."
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James A. Jerritt - Richmond Times-Dispatch
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"The Widow, Hanna Glawari, is the stunningly statuesque Kelly Cae Hogan whose voice is effortlessly strong and clear and it bubbles like champagne in her light, delicate moments. Her rendition of the hauntingly lovely Vilia is perhaps the finest I've ever heard."
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Edgar Loessin - WHRO-FM, Norfolk
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As Micaela in CARMEN |
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"Kelly Cae Hogan was sweet and strong as
good girl Micaela"
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Catherine Reese - Salt Lake Tribune
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"Kelly Cae Hogan as Micaela was warm-voiced
and wonderful, especially in her Act 3 aria."
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Catherine Newton - Deseret News
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As Musetta in LA BOHÈME |
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"Kelly Cae Hogan's Musetta brought abundant vocal color and power, not to mention theatrical personality."
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TIM SMITH, Opera News
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"Musetta was flirty and fabulous, stealing the show... her voice was bright and seductive, expressing her temptress character."
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Clara Park - The Augusta Chronicle
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"...only Musetta was first-class. Kelly Cae Hogan brought just the right
mixture of bawdy animal spirits and unexpected tenderness to the character."
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Tim Page - The Washington Post
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"Committed robust singing from each of the young principals...Kelly Cae
Hogan was a wonderfully feisty Musetta." | |
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Alan Bostick - The Tennessean
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As NORMA |
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"Hogan possesses all the beauty and fire that make a great Norma, and from first to last she commanded the stage in what will be remembered as one of the year's finest performances."
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Peter Spencer - Newark Star Ledger
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"Kelly Cae Hogan's Norma was impressive from the moment she set foot on stage. She understood the character and clearly had the voice to portray the conflicted woman. As the performance progressed, her vocal security and ability to command the stage transcended even her first impact as she displayed all the agility and power one could want from the character. The high coloratura acrobatics were in place, as were the lower register passionate lines."
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Paul Somers - Classical New Jersey
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