“Soprano Keri Alkema returned...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 jewellery.”
Joseph So, Ludwig van Toronto, October 14, 2019 - Foreign Princess in 'Rusalka' at Canadian Opera Company
A voice with an “appealing brew of dark and creamy colors” (New York Times), lirico-spinto soprano Keri Alkema has been praised for her “tonal opulence” (Washington Post) and “incisive musicality”. (New York Times)
Keri begins the 2019-2020 season with a return to the Canadian Opera Company for Foreign Princess in Rusalka directed by David McVicar and conducted by COC Music Director Johannes Debus followed by Donna Elvira in Don Giovanni at Washington National Opera. She returned to the WNO to sing the title role of Tosca in the 2018-2019 season. She made her debut at Gran Teatre del Liceu in...
“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 - Vitellia in 'La clemenza di Tito' at Canadian Opera Company
“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.”
John Stege, Santa Fe Reporter - Donna Elvira in 'Don Giovanni' at Santa Fe Opera
“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.”
Rebecca Franks, The Times - Title role in 'Tosca' at the English National Opera
“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.”
Ossama el Naggar, ConcertoNet - 'Madama Butterfly' at Teatro Carlo Felice
