headshot: Barbara Kilduff Logo: Barbara Kilduff, soprano

"She has the top notes down pat and the stamina and pacing well in-hand. The voice is matched to the role's tradition: small, fresh, clear and true to pitch."

(The New York Times)

Barbara Kilduff as ZerbinettaReviews

Konstanze, Entführung aus dem Serail (Mozart)

"[As Konstanze,] Barbara Kilduff sailed through the part.... The youthfulness of her tone was astonishing. Her entrance aria, “Ach ich liebte,” shimmered with altitudinous coloratura, and she attacked “Martern aller Arten” with all the dramatic weight befitting the aria. ...The singing was stellar…”

Lucia, Lucia di Lammermoor (Donizetti)
Granite State Opera, 2007

“Her upper register was particularly impressive and her performance of the Mad Scene literally brought the full house leaping to its feet.”

“Thanks to Barbara Kilduff for giving us a vocally textured and technically flawless performance as Lucia, and for blending all this perfectly with some solid stage acting, too. Brava!”

Morgana, Alcina (Handel)
Emmanuel Music, Boston, 2007

“As Morgana, Barbara Kilduff offered a bright, crystalline coloratura that soared easily up to an interpolated high F in her first-act showpiece ‘Tornami a vagheggiar’; her pert flightiness was a fine foil to Oronte's exasperated jealousy.”

"The most dazzling singing, though, came from coloratura soprano Barbara Kilduff, Morgana. Last year, she knocked me out as the Queen of the Night in Emmanuel’s english-language Magic Flute, and here she did it again, hitting what must have been a high Z, in my favorite Alcina aria, the Act One ending ‘Tornami a vagheggiar.’”

Queen of the Night, Die Zauberflöte (Mozart)
Emmanuel Music, Boston 2006

"Barbara Kilduff fearlessly threw off the Queen of the Night's two punishing arias and she made a bold and vivacious impression."

Zerbinetta, Ariadne auf Naxos (R. Strauss)

“She has the top notes down pat and the stamina and pacing well in-hand.   The voice is matched to roles tradition: small, fresh, clear and true to pitch.”

“....the Zerbinetta of Barbara Kilduff was a knockout, both in the duet and in her apotheosis for the soubrette ‘Grossmachtige Prinzessin.’”

“Barbara Kilduff is an exemplary Zerbinetta with pinpoint accuracy.”

Blondchen, Entführung aus dem Serail (Mozart)

“...Barbara Kilduff is the Blondchen of conductors’ and directors’ dreams.”

“...Barbara Kilduff was as pert and vocally expert playing the saucy Blondchen as any predecessor.”

Olympia, Les Contes D'Hoffmann (Offenbach)

“ ...Barbara Kilduff was a marvellous Olympia, fearlessly facing the coloratura demands of her role and adding extra flourishes to her 2nd verse, which amply demonstrated not only what a staggering virtuoso she is, but the scale   of her imagination as an artist.”

“....Barbara Kilduff’s Olympia adorned her second verse with brilliantly tossed off extra feats of virtuosity.”

Adele, Die Fledermaus (J.Strauss)

“...Kilduff’s Adele added a brilliant coloratura to her girlish squealing.”

“The one ray of light was the Adele of Barbara Kilduff, an excellent soubrette of artfulness and high notes.”

“...Barbara Kilduff is the perfect Adele.”

Sophie, Der Rosenkavalier (R. Strauss)

“Is there such a thing as an ideal Sophie? Barbara Kilduff answers this necessary question positively.   Such a young, fresh and decently characterised Sophie such as Barbara Kilduff, one seldom comes across in the land of Rosenkavalier.”

“....the silvery-voiced Barbara Kilduff as Sophie.”

“Such a small, lost little bird stands on the stage! No stupid little thing, rather a person who knows what she wants and also not to shy away from great outbursts.   All this Barbara Kilduff has taken up in an optimal manner and also shown that Octavian may not have it easy with this Sophie in case a union of the two should come.”

“Barbara Kilduff’s Sophie was sweetly and cleanly sung.”

Cleopatra, Julius Caesar (Handel)

“Barbara Kilduff, soprano, was scheduled to sing her first Cleopatra in the Metropolitan Opera’s new production of Handel’s Giulio Cesare but had to step into the role a couple of weeks earlier than expected. She was ready, and sang splendidly and her exquisitely turned ‘Se Pieta di me non senti’ brought down the house. The soprano has a clear, compact, well focused voice with a supple, controlled vibrato, all qualities well suited to the florid Handel style.”

Flower Maiden, Parsifal (Handel)

“The cast of Flower Maidens was unusually distinguished and also pretty including Barbara Kilduff.”

Ännchen, Der Freischütz (Weber)

“But in particular, I also praise the interpretation of Barbara Kilduff (Vivacissima Ännchen).”

Queen of Shemakhan, Coq D'Or (Rimski-Korsakov)

“...and even more we approve the soprano Barbara Kilduff:   a masterful voice of seductions and ensnaring effusions.”

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