“Michael Kelly declaimed the poet’s despondent musings in a high, oaken baritone, strongly inflecting the long phrases, biting off the words with fierce diction. “If these were not the most cuddly songs ever written, one could certainly admire their craft and restraint, and Kelly’s ability to sustain a long line.” —Read more at New York […]
Kelly’s “big rich” and “mellifluous baritone handled the difficult dramatic moments surreptitiously on transgender.”
“We meet Hannah performed by Michael Kelly, a big rich baritone, who is pedaling around on his delivery bike tossing newspapers on doorsteps. He shows us the soft silky blouse with a bow that he wears under his masculine windbreaker. From time to time, as he sings, he stuffs socks where his breasts should be. […]
“As Daewood, the fervently expressive baritone Michael Kelly brings us into the shelter, aghast at the horrors he has witnessed outside and unsure if he should write about them. Later, when he finds his voice through music, he bursts with exuberant artistic inspiration.” – Read more at operanews.com.
“…the smoothly eloquent baritone Michael Kelly…The fine tenor was Thomas Cooley. With excellent French he infused these youthful and sensuous pieces with imagination and color.” — Read more at American Record Guide
“The role was sung by Michael Kelly, who was ceaselessly expressive and energetic as well as in command of the kind of robust high baritone that works best in the opera.” — Read more at Jay Harvey Upstage.
“Baritone Michael Kelly (the father) negotiated his solos with luxurious warmth and a firm line.” “Soprano Cyndia Sieden (the mother) sang clearly and elegantly, handling the high stuff with aplomb.” “Tenor Marc Molomot (the passenger) managed the Swan’s song evenly and eloquently, without, it would appear, resorting to falsetto.” Read more here.