Figaro, Dutch National Opera, Amsterdam 2016
Forum Opéra, Laurent Bury
“Louise Kemény has a voice so rich that we have no difficulty imagining her in heavier roles.”
Bachtrack, Jenny Camilleri
“Youthful freshness poured from Louise Kemény who, as the ingénue Barbarina, displayed fine Mozartian style.”
Agrippina, Iford Arts, Iford 2015
The Spectator, Anna Pickard
“As nubile Poppea, Louise Kemeny deftly juggles the attentions of Nerone and Andrew Slater’s lust-befuddled Claudio, saving her sweetest singing for the gorgeous Act 3 duet with Rupert Enticknap’s smitten Ottone.”
The Times, Geoff Brown
“Note too the eager skill of Louise Kemény…adept at injecting light into a pretty dark world.”
Ottone, English Touring Opera, UK 2014
The Times, Hilary Finch ????
“Poor Teofane, exquisitely sung by the outstanding young soprano Louise Kemény.”
The Arts Desk, Josh Spero
“Stand-out star: Louise Kemény as Teofane – divine voice, utter control, good dramatic presence.”
What’s On Stage, Mark Valencia ???
“Louise Kemény, golden of both voice and glittering costume”
The Telegraph, Rupert Christiansen ????
“Louise Kemény as the forlorn virginal Princess Teofane, whose plight is touchingly expressed in the haunting Falsa immagine”
Bachtrack, Charlotte Valori ????
“Louise Kemény is exceptionally graceful and elegant throughout as Teofane, the Byzantine princess. Teofane has a set of stellar arias, among which “Image clear and bright” and “Alone in lonely grief” stood out for me, Kemény singing with a sense of purity and fabulous ornamentation. Kemény brings naive vulnerability to Teofane, making us feel anxious for her throughout.”
Robert Hugill ????
“Louise Kemény gave a poised account of this aria and throughout impressed with her musicality and the way she conveyed something of Teofane’s underlying strength of purpose and character.”
London Evening Standard, Barry Millington ???
“The role of the princess, Teofane, is sung with expressive delicacy by Louise Kemény.”
The Independent, Michael Church ????
“The trio of women – sopranos Louise Kemény and Gillian Webster, and mezzo Rosie Aldridge – are each in their own way stunning.”
Opera Britannia, Miranda Jackson ???
“The role of Teofane was taken by the young soprano Louise Kemény. As well as looking stunning in her Byzantine garments, this young lady sang plaintively and expressively and has a lovely vocal radiance.”
Sinfini Music, Robert Thicknesse
“This is the place to catch good up-and-coming British singers too – watch out for Louise Kemény.”
Paul Bunyan, British Youth Opera, London 2013
Times, Geoff Brown ????
“Louise Kemeny, as Bunyan’s daughter Tiny, laments with eloquence.”
WhatsOnStage, Simon Thomas ????
“Louise Kemeny a beautifully anguished Tiny.”
Telegraph, Rupert Christiansen ???
“Louise Kemeny sang Tiny’s lament for her dead mother expressively.”
Financial Times, Andrew Clark ????
“The quality of singing and acting is consistently, inspiringly high … Dominick Felix’s Western Union Boy and Louise Kemeny’s Tiny make standout contributions.”
A Midsummer Night’s Dream, Scottish Opera, Glasgow & Edinburgh 2013
“Tom Verney’s poised Oberon and Louise Kemeny’s radiant Tytania made a strong central pair.”
“Radiant: Louise Kemeny as Tytania in Scottish Opera’s ‘Midsummer Night’s Dream'”
A Night at the Chinese Opera, British Youth Opera, London 2012
Guardian, Tim Ashley ????
“When the Actors (Catherine Backhouse, Louise Kemeny and Peter Kirk) perform their opera-within-the-opera, the rest of the cast, Herford excepted, mingle with the audience in the stalls.
Lionel Friend’s conducting, meanwhile, brings out all the detailed nuances of Weir’s instrumentation, and there is some fine singing. Herford and the three Actors are excellent.”
Independent, Michael Church ????
“Stuart Barker’s production of this folk tale within a folk tale has a shoestring charm which gives free rein to the cast’s musical and comedic talents, with Catherine Backhouse, Peter Kirk, Johnny Herford, and the Protean Louise Kemeny pre-eminent.”
Bachtrack, Paul Kilbey ???
“The trio of Catherine Backhouse, Louise Kemeny and Peter Kirk have a riot of a time as the “Actors”, juggling through a whole series of silly Chinese characters. Kemeny’s sweet soprano voice was particularly notable, and she had the acting chops as well to characterise a young mother, an old woman, and a sprightly young man, all oddly convincingly.”
The Times, Richard Morrison ???
“The evening only really ignites when the three travelling players — Catherine Backhouse, Louise Kemeny and Peter Kirk — throw themselves into the parody Chinese opera itself.”
Financial Times, Andrew Clark ???
“The pantomimic second act, a folk-tale within a folk-tale, works brilliantly because it is intrinsically entertaining. The verse has humour and BYO fields three charismatic singer-actors in Catherine Backhouse, Louise Kemeny and Peter Kirk.”
Unknown Position/Bonesong, Edinburgh 2011
“Kemeny’s torture, confusion and anguish is impeccably portrayed through everything about her: tone, expression and physicality. She acts as well as she sings … Kemeny’s performance as the cold, preoccupied girlfriend who realises that she is in love with a chair is outstanding. I was entranced by the tone and clarity of her voice and was utterly convinced by her portrayal of a woman with ‘object sexuality’. Through her poised, graceful movement, Kemeny transforms the wooden chair into a sensual object.”
“(Unknown Position) Louise Kemeny, however, showed great comfort on stage and her aria to the chair was subtly but convincingly sexualised. She showed impressive voice control as she interacted with her wooden lover – even on her back … (Bonesong) Once more the highlight was Kemeny, this time for her beautifully entranced blood-bath – moving even through the gore.
Recital: Foundling Museum, London 2010
Bachtrack, Sebastian Scotney
“Louise Kemeny brings a level of intellect and thoughtfulness to sung texts which is probably unique among young singers … Her Melisande with the Cambridge University Opera Society earlier this year was a complete and totally convincing portrayal of a hugely complex character. Kemeny was able to balance Melisande’s vulnerability with a knowing sexual allure. But it was also a vocally triumphant performance. Kemeny has an astonishingly lithe and agile soprano voice, which is a constant thrill to hear. The high points of her first, 45-minute, London recital, at the Foundling Hospital today were the final songs, the Quatre Chansons de Jeunesse of Debussy. Au Clair de Lune was deliciously floaty. The jumps up into head-voice and the trills in Pierrot were dispatched spectacularly, and with a nonchalant smile. Falling perfumed stars of Mallarme’s Apparition were captured magically. Earlier items in the programme, such as Donizetti’s Neapolitan song La Conocchia were also delightful … The pure joy and the elemental excitement of hearing a wonderful young voice, combined with mesmerizingly thoughtful interpretative insights, and phrasing to die for. Remember the name.”
Siren Song, Cambridge 2010
“Diana, the object of his semantic affection, is played by Louise Kemeny, and her beautiful, soaring soprano adds depth to what otherwise would have been an all-male affair.”
The Cambridge Tab ????
“The only other fault I can think of is Louise Kemeny: she just didn’t spend enough time on stage. Her voice is enthralling, rich and sweet. It genuinely sent chills down my spine when she hit those top notes (which, incidentally, she did with poise and ease). I could feel the audience warm every time she began to sing.”
Pelléas et Mélisande, Cambridge 2010
The Cambridge Student ????
“There were some excellent emotional performances, especially from Melisande herself (Louise Kemeny). Great acting”
Macbeth, London 2009
“Louise Kemeny made the greatest impression as Lady Macduff, delivering a welcome note of purity and light in Act 2 before being dispatched”