Kelly Cae Hogan gives Salome much nuance, her delivery soft, demanding, cajoling or powerful, always mindful of the text. She maintains the reserves and expansiveness to deliver the ecstasy of the final monologue with bravura.

— Weser Kurier

Brünnhilde

Die Walküre


“Kelly Cae Hogan was a revelation, handling her magnificent, quintessentially Wagnerian part with great power and assurance in a performance that at times was viscerally exciting.” The Washington Times

“From her first entrance she embodied the strength, defiance and wisdom of Brünnhilde with an implausible ease. Clearly a stage animal, Hogan’s balmy, and on occasion fiery, timbre soared through the hall from the floorboards to the rafters.” Opera Britannia

Brünnhilde  “Ho jo to ho” audio excerpt


Hojotoho.flv.mp4_2“Kelly Cae Hogan’s Brünnhilde thrills with pure, pinging high notes.” The Washington Post

“Kelly Cae Hogan, a Gerhilde at the Met, took on the challenges of Brünnhilde bravely and vibrantly. The music poured out beautifully and meaningfully in the 2,000-seat hall.” Opera News

“Musically the performance was nothing less than a sensation from the first… The cast is uniformly strong with Kelly Cae Hogan giving an account of her role of a calibre that I had given up hope of ever hearing again…” Michael Tanner for The Spectator

 “Todesverkündigung ” excerpt 1


 “Todesverkündigung ” excerpt 2


Siegfried

 “There’s some welcome steel in Hogan’s upper notes, but also genuine warmth to her soprano which gave her Brünnhilde a vulnerable touch.”(Siegfried) Mark Pullinger (July 2, 2016) for Bachtrack


“Hogan’s Brünnhilde was magnificent throughout the final operas, bright and thrilling in Siegfried, incisive and sympathetic in Götterdämmerung in the role’s many demands, not least in terms of stamina, and crowned by a compelling immolation scene.” Martin Kettle (July 4, 2016) for The Guardian

Götterdämmerung