REVIEWS

At a benefit performance for RAWA..."Kerry Walsh distilled the spirit of the event, punctuating the evening with operatic pieces in her generous, soul-cleansing soprano…"
-----Lorna Hunt, Santa Barbara Independent

In "Lullaby to the Millennium" at the Festival of New American Music "Outstanding performances...Most conspicuous among the guests was Kerry Walsh...a prime example of the new generation of opera singers- the ones who are helping to attract throngs of young listeners to the new art form. Walsh displayed remarkable skills. Her voice had strength, poise, an expansive range and tonal beauty to spare. Best of all, even at the low volume that most of the lullabies required, her voice easily filled the large auditorium with luxuriant sounds. Walsh was at ease with languages as diverse as Yiddish, Cajun French and Sioux, and several African and middle Eastern tongues. Each selection had unique ethnic dimensions, but she consistently came across naturally, just as if she were part of each community. Walsh and the choristers were as soothing to the spirit as they were to the ear."
-----Robert A. Masullo- Sacramento Bee

As Mimi

“This Boheme was beautifully and movingly sung…The role of Mimi was sung by Kerry Walsh. Her pianissimos were lovely and touching. She and (Rodolfo) made an appealing looking, as well as sounding, couple. In act IV, their duet was sung and acted to the point of tears, mine as well as theirs.”
-----Theadora Russo- Arts and Entertainment, Norrall Newspaper

"The evening belonged to Mimi, Rodolfo and Colline. Kerry Walsh as Mimi was a knockout, both visually and vocally. Her lower tones have the rich quality of a fine mezzo, and her top is full and vibrant...... The soprano's execution of stunning crescendos, glorious decrescendos, as well as glistening piano tones were a delight to the ear. Physically, an audience would have no trouble believing that she could be dying of consumption, as she was slim enough to look the picture." 
-----Sonia and Audrey Lewis- Classical New Jersey

As Violetta

“The music carried the day, particularly along the exquisite axis linking music director David Rorbaugh and his opening night Violetta, Kerry Walsh. For the act’s crucial final number - her show stopping coloratura piece “Sempre Libera” (Ever Free) - the voice opened up radiantly, like a beacon. This number ended with an effortless high Eb that melted the ice and liberated the cast, aptly enough, for the successful acts to come. Her Violetta…was effective, especially in the ultra-realistic transformation to the tragically dying woman, where she turns ashen and looks a good fifteen years older. Major league divas could learn a lot from this versatile singer-actress.”
-----Paul Hertelendy, San Jose Mercury News

“Kerry Walsh is a tremendous Violetta. In the first act she’s tall and statuesque, supremely confident, bubbly but refined as the partisan courtesan. In the second act she starts to unravel as she decides on the sacrifice she knows she must make. At Flora’s party with the count, she’s stoic and almost distracted as she mingles with the guests, but remains alone in her thoughts. In the final act she’s almost ecstatic in the face of death…Walsh sings with power, grace and ease, never seeming to strain, especially beautiful in the act II duet ‘Dite Alla Giovine’.”
-----Paul Berenson, Classical 88.7, Santa Barbara

In Rutter’s Magnificat

“The wondrous Kerry Walsh lent her truly dulcet tones to the proceedings and uplifted them considerably, with a plaintive ‘Sanctus, sanctus.’ Her expressive, vulnerable, yet considerable strength cast an angelic spell over the work from here on, and raised it perceptively heavenwards. Soprano Walsh again added some of her arching magic to the “Et Misericordia,” contributing a dramatic weight and passion…Walsh returned in the sixth movement with a beautiful soprano melody over a pastoral arrangement on the strings…to adopt the lyrical, gentle narrative. Noticeable in the finale…Walsh’s great voice joined the chorus…Altogether a very impressive combination of orchestra, well-trained chorus and an enchanting guest soloist.”
-----Duncan Wright- Santa Barbara Independent

In Concert

"One World of Peace Through Music" Concert at the Shrine Auditorium, Los Angeles
"Love Melody IV". was sung by Kerry Walsh, creating a mysterious atmosphere that seemed to go beyond the limits of time."
-----Media Reports/Viet News, U.S.A. By Le Uyen Phuong

In Chen Yi’s “As in a Dream” at the Festival of New American Music “Two spectacular virtuosos solo performances made the second half particularly memorable. Soprano Kerry Walsh, looking as slim and tall as one of her marvelous high notes…In two songs called “As in a Dream.” Singing in Chinese, in a kind of crooning style, she handled the extreme intervals on the atonal score with an extraordinary combination of beauty and control. The charmingly concrete imagery of the poems, from a poetess of the Song Dynasty, was made spellbinding by the music.”
-----William Glackin, Sacramento Bee

As Klytemnestra in Will Salmon's "The Orestia" "There are moments of real magic...Kerry  Walsh's Klytemnestra is beautiful, tense and dangerous all at once."
-----Mary Cogswell Baum-  Sierra Madre News

In Leonard Rosenman's "Looking Back at Faded Chandeliers" at the SB New Music Festival "Soprano Walsh delivered the complicated vocal part easily and pungently...looking back sounded like an important and articulate work unjustly neglected. More hearings, please."
-----Daniel Cariaga- Los Angeles Times

With i Cantori  "Kerry Walsh gave the part of Anima (the Soul) dramatic substance with her stylized but expressive movements and unabashedly emotive singing, in a pure, dark soprano."
-----Alan Rich, Los Angeles Times

With I Cantori  “Soprano Kerry Walsh offered a melting, beautifully shaded performance of ‘Ain’t it a Pretty Night’ from Carlisle Floyd’s ‘Susannah’…”
-----Richard S. Ginell,  LA Times

With I Cantori  “Soprano Kerry Walsh proved in her solo from Carlisle Floyd’s ‘Susannah’ that her voice belongs in opera…she easily filled the theater with full, golden tone.”
-----Larry Warkentin- Entertainment, The Fresno Bee

With I Cantori  “I Cantori’s holiday program…started with the cool, pure soprano of Kerry Walsh ringing through the pleasantly reverberant church…Morales’ ‘Magnificat’ found Walsh and I Cantori engaged in an ethereal call and response dialogue...after which our soprano, now clad in little more than filmy veils, performed a dance worthy of Salome herself.”
-----Richard S. G.- Los Angeles Times

As the Queen of the Night

“Guest soprano Kerry Walsh…was suitably imposing - in the best sense - on stage, possessing a powerful voice that almost stole the show.”
-----Josef Woodard-  Santa Barbara News Press

“The most spectacular scene was the appearance of the Queen of the Night to thunder and lightening as the Act I cliffs roll away and she stands on a platform with smoke rolling up from around her feet. Kerry Walsh is tremendous as the Queen. Tall and commanding in form and voice, this Queen is firmly in possession of her domain. In act II she appears against flashing lights to Pamina to give her the dagger and actually sings every note of the Queen's aria in one of the most riveting renditions of this difficult piece that I've ever heard.”
-----Paul Berenson- Classical 88.7, Santa Barbara

“An electrifying, evil and mysterious Queen of the night was sung magnificently on Friday by Kerry Walsh. Her first entry, whereupon she sings to Prince Tamino of her daughter's plight, was sung with appropriate power and majesty; later on, when she sings the famed 'Queen of the Night' aria with all those leaping tones so unnatural to the human voice, she accomplished the near impossible with uncanny strength and ease."
-----Hillary Hauser- Santa Barbara News Press

As Rosina

“Kerry Walsh, a perfect visual match for the part of the young Rosina, displayed an occasionally breathy, husky voice quality very attractive in the low end, and brought ringing, unforced focus to the high notes. Of all the artists, she holds the most promise for a bright future in more prestigious venues.”
-----Greg Hettmansberger- LA Life- Daily News

Sub Pontio Pilato

ODC Theatre, San Francisco
PONTIUS PILATE'S PHILOSOPHICAL VENTURE INTO OPERA

"...an extraordinary cast made a riveting night out of 'Sub Pontio Pilato' (Under Pontius Pilate), which got its world premiere April 10 at the ODC Theater. What a lineup! The veteran Seattle tenor Duykers...abetted by dramatic Kerry Walsh, in multiple roles. (Walsh, whose credits include the Santa Fe Opera, is remembered as a showstopper with her achingly alluring voice during her brief tenure with Opera San Jose in the mid-1990s.)"
-----Paul Hertelendy, artssf.com, the independent observer of San Francisco Bay Area music Week of April 12-20, 2003 Vol. 5, No. 75

"Duykers and the equally formidable soprano Kerry Walsh (as Pilate's wife, Procula) lead an appealing six-person cast."
-----Avila, San Francisco Guardian

The opening performance could scarcely have asked for stronger performers... Soprano Kerry Walsh. gives an entrancing performance in the dual assignment of Pilate's wife, Procula, and his servant Ptolemaeus.
-----Joshua Kosman, San Francisco Chronicle