Reviews
As Salome
Metropolitan Opera soprano Hogan delivered a fetching and frightening Salome… 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. Classical Voice of North Carolina
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. The News & Observer (Raleigh-Durham)
Salome was admirably sung by the lovely Kelly Cae Hogan whose powerful voice carried the drama. OPERA NOW
Commanding performance by Hogan in the title role (Salome). 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. Hogan combined passion, rage, rejection and incipient madness—and did it all with remarkable subtlety. The Kansas City Star
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. Independent Weekly (Raleigh-Durham)
Hogan’s voice (as Salome) was agile and powerful enough to easily surmount the enlarged Strauss orchestra. Her considerable gift for characterization was satisfying as well. Post-Standard (Syracuse)
As Abigaille in Nabucco
Impressive how Kelly Hogan assayed the dizzying heights and treacherous depths of the murderous role of Abigaille in Verdi’s Nabucco with radiant bravura and vocal precision, employing her dramatic soprano with great ease. Weser Kurier (Bremen, Germany)
As Gerhilde in Die Walküre
When Gerhilde started to sing, I turned to the friend next to me and said, “Who’s that?” She was the soprano Kelly Cae Hogan, making her Met debut. We must hear more of her. New York Sun
As Tosca
There was no power shortage for Kelly Cae Hogan (Tosca). Vocally Hogan and Lambrinos (Scarpia) ignited sparks with their sparring. Hogan also dug significantly into her soul in ‘Vissi d’arte.’ Newark Star Ledger
Soprano Kelly Cae Hogan enthralling as Tosca. 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 Asbury Park Press
Kelly Cae Hogan 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. The News, Port St. Lucie, Florida
As Leonora in Il Trovatore
The opera world is hereby put on notice that a new Leonora has definitively arrived in the person of Kelly Cae Hogan: WOW! Classical New Jersey
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. The Tampa Tribune
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 and sang with the most elegant pianissimo high notes. St. Petersburg Times
As Norma
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. Newark Star Ledger
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. 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. Classical New Jersey
As Donna Anna in Don Giovanni
The biggest voice in the cast was that of Kelly Cae Hogan as Donna Anna. In a word: Wow. The News & Observer (Raleigh-Durham)
Kelly Cae Hogan 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. Cleveland Plain Dealer
Lyrical outrage streamed radiantly from Kelly Hogan’s Donna Anna. Birmingham News
Kelly Hogan is fierce and lovely in her portrayal of Donna Anna. Cedar Rapids Gazette
As Violetta in La Traviata
Kelly Cae Hogan’s golden-voiced Violetta was flexible & brilliant, grabbing a high E-flat with ease. Newark Star Ledger
Hogan was riveting. Her interpretation was charming, vulnerable and believable: vocally strong and precise. Augusta Chronicle
As the Countess in The Marriage of Figaro
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. Classical New Jersey
As Susannah in Susannah
Hawaii Opera Theatre
Kelly Cae Hogan’s Susannah proved to be the strongest character, dramatically as well as musically. Her acting was excellent and her full 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. Honolulu Advertiser
As Hanna in The Merry Widow
…the company debut (New York City Opera) of Kelly Hogan as Hanna was very professional … her Valencienne was Elizabeth Futral, and their duets were perfectly euphonious. Opera Magazine (London)
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. Richmond Times-Dispatch
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. Edgar Loessin—WHRO-FM, Norfolk
As Musetta in La Bohème
Kelly Cae Hogan’s Musetta brought abundant vocal color and power, not to mention theatrical personality. Opera News
Musetta was flirty and fabulous, stealing the show… her voice was bright and seductive, expressing her temptress character. The Augusta Chronicle
Kelly Cae Hogan brought just the right mixture of bawdy animal spirits and unexpected tenderness to the character. The Washington Post
As Micaela in Carmen
Kelly Cae Hogan was sweet and strong as good girl Micaela Salt Lake Tribune
Kelly Cae Hogan as Micaela was warm-voiced and wonderful, especially in her Act 3 aria. Deseret News