Madam Butterfly

Opera Holland Park:

​

“The supporting roles shouldn’t really steal the show, but they do in the form of Alasdair Elliot’s expert Goro and Alison Kettlewell’s moving Suzuki” (The Guardian)

“Alison Kettlewell’s Suzuki and Simon Thorpe’s Sharpless were strongly and sympathetically sung” (The Sunday Telegraph)

“A highly expressive Suzuki” (Metro)

“Alison Kettlewell and Simon Thorpe as Suzuki and the Consul movingly convey the heartbreak of their situations.” (What’s On)

Clonter Opera:

“There was a strikingly good Suzuki from Alison Kettlewell” (Sunday Telegraph)

Mid Wales Opera:

“Alison Kettlewell as her servant also has a glorious voice..” (Liverpool Daily Post)

Royal Albert Hall (Raymond Gubbay):

​

“Alison Kettlewell’s Kate Pinkerton was expertly judged” (Opera)

“Alison Kettlewell made Kate Pinkerton into a secondary tragic figure all on her own” (Opera)

“Special mention must be made of Alison Kettlewell, whose perfectly judged balance of the alien and the sympathetic in the tiny part of Kate Pinkerton added a vital ingredient to the denouement.” (Opera Magazine)

​

 

Mary – Berlioz’s L’Enfance du Christ (Royal Northern Sinfonia):

​

“Alison Kettlewell and Jared Hold, two experienced but relatively young singers (definitely on the up) blended together beautifully as history’s most famous parents.  Both have vocal warmth, which conveyed the strength of the relationship and they steered us movingly through the ups and downs of their journey from Jerusalem to Egypt.” (Music Web)

​

Messiah  (Aberdeen Choral Society):

​

“…and the mezzo Alison Kettlewell proved particularly riveting.  Stunning singers their storytelling powers drew the audience into the drama.” (Aberdeen Press and Journal)

​

Mahagonny Songspiel and Trouble in Tahiti (The Opera Group):

​

“..the famous Alabama song, delivered with sluttish sensuality by Alison Kettlewell and Kathryn Turpin.. The Greek-chorus style jazz trio of Kettlewell , Robert Gildon and Alexander Grove was simply brilliant”.

​

Dorabella – Cosi Fan Tutte (Opera Holland Park):

​

“There is some fine singing too – especially from Alison Kettlewell as Dorabella” (The Times)

​

Gilbert and Sullivan Gala – Jacques Offenbach Festival, Bad Ems:

“There was a German Premiere too.  Sullivan’s “The Merry Wives of Windsor” in which mezzo soprano Alison Kettlewell convinced again with the velvety lustre of her voice” (Bernd-Christoph Maten/Rheinische Zeitung)

​

Rosina – The Barber of Seville (Garden Opera):

​

“Alison Kettlewell sings Rosina as the Becky Sharp of opera, her roulades a perfect expression of minxy scheming” (The Times)

​

Mother – The Juniper Tree (Munich Biennale/Almeida Opera):

​

“Alison Kettlewell was radiant as the Mother” (The Independent)

“..the first wife, a lyrical, tenderly realised figure excellently acted and sung by Alison Kettlewell” (Opera Now)

​

Diana – La Calisto (Batignano Festival)

​

“…the versatile and sensual singing of Alison Kettlewell (Diana)” (Opera)