Azucena in Il Trovatore
The most mysterious character in the drama is the gypsy woman Alzucena,whose life has two foci – the love for her supposed son Manrico and the avenging of her mother’s execution by the Count’s father. She was sung with burning intensity by mezzo-soprano Ms. Kellermann, who imparted just the right amount of crazed vengeance to the chilling final scene.
The Westfield Leader
Amneris in Aida
“But the show really belonged to Janara Kellerman as the jealous, amorous Amneris. Her rich, velvety mezzo voice wrapped itself around every emotion, from anger to charm to pity. She clearly was the finest actor on stage as well, compelling in every scene.”
Cedar Rapids Gazette
Little Buttercup in HMS Pinafore
The cast is deeply talented. The best voice belongs to the textured, smooth mezzo Janara Kellerman as the “poor little Buttercup,”
San Antonio Express News
The highlight of the evening was Janara Kellerman's Buttercup....SA Current.com
The most mysterious character in the drama is the gypsy woman Alzucena,whose life has two foci – the love for her supposed son Manrico and the avenging of her mother’s execution by the Count’s father. She was sung with burning intensity by mezzo-soprano Ms. Kellermann, who imparted just the right amount of crazed vengeance to the chilling final scene.
The Westfield Leader
Amneris in Aida
“But the show really belonged to Janara Kellerman as the jealous, amorous Amneris. Her rich, velvety mezzo voice wrapped itself around every emotion, from anger to charm to pity. She clearly was the finest actor on stage as well, compelling in every scene.”
Cedar Rapids Gazette
Little Buttercup in HMS Pinafore
The cast is deeply talented. The best voice belongs to the textured, smooth mezzo Janara Kellerman as the “poor little Buttercup,”
San Antonio Express News
The highlight of the evening was Janara Kellerman's Buttercup....SA Current.com
Carmen in Carmen
“DMMO has been quietly nurturing Janara Kellerman in previous seasons, her pungent mezzo and keen dramatic instincts gracing such roles as Antonia’s mother in Hoffman and Rigoletto’s sultry Maddalena. Toss in her considerable dark beauty, and a try at Carmen seemed inevitable; the current season saw her take on Bizet’s Gypsy, in an impressively nuanced role debut. The habanera was voluptuous of tone, and Kellerman’s intelligently shaded Seguidilla purred erotically. Carmen is one of opera’s iconcic characters, of course, and Kellerman is a developing artist, but this was a highly promising assumption that will bear watching closely in seasons to come.”
Opera News
“When Janara Kellerman struts on stage and launches into the famous habanera’s slinky chromatic descent, it’s easy to forget everyone else. Her voice is simultaneously agile and strong, like a big game cat that prowls through the underbrush pouncing on its prey. With her thick black hair, smoldering gaze and brazen swagger, Kellerman casts a spell more potent than a cloud of smoke. She deftly combines her character’s dramatic sense of abandon with the score’s demand for vocal control.”
Des Moines Register
Maddalena in Rigoletto
“Janara Kellerman was terrific as Maddalena, singing resplendently and characterizing with teasingly erotic humour; one hopes that somebody is planning Carmen for her.”
Opera News
“Mezzo Soprano Janara Kellerman comes of age in the sultry role of Maddalena. Here she makes the giant leap from talented singer to true artist.”
Des Moines Register
Mother in Les Contes d’Hoffman
“Janara Kellerman sang beautifully in the Act II trio.”
Des Moines Register
“….the portrait trio a highlight of the evening with Janara Kellerman’s Mother displaying a mezzo timbre velvety as the nap of a big, juicy peach.”
Opera News
Lady Essex in Gloriana
“Janara Kellerman gave a splendid portrayal of Frances.”
Dryade in Ariadne auf Naxos
“Lindstrom and Kellerman lent fine support as Penelope and Frances respectively.”
Opera News
La zia Principesa in Suor Angelica
“Later, Angelica confronts her aunt, the old Princess (the compelling Janara Kellerman), who is implacable yet vulnerable: She leans wearily on her scepter, and a look of trouble and guilt flickers across her face when Angelica, still ignorant of her child’s death, longingly sings of her son.”
Peoria Journal Star
Alto Soloist in King David
“The three soloists were very good — especially Janara Kellerman, a creamy rich mezzo soprano”
Cedar Rapids Gazette
Tisbe in La Cenerentola
“The sisters — not uglified in this production — were well sung by soprano Cara Johnson and the voluptuously dark mezzo of Janara Kellerman.”
San Antonio Express-News
Suzuki in Madama Butterfly
“One of the brighter performances of the evening came from mezzo soprano Janara Kellerman . sings so expressively but then carries magnificently over full orchestra.”
Des Moines Register
“The night was also a triumph for mezzo soprano Janara Kellerman, who loaded the supporting role of Suzuki with warmth and charisma.”
Cedar Rapids Gazette
Flora in La Traviata
“Cedar Rapids’ own Janara Kellerman is captivating in the role of Flora. Though only onstage for a short time, Kellerman makes the most of it with a vibrant performance as Violetta’s party-loving friend.”
Cedar Rapids Gazette
“DMMO has been quietly nurturing Janara Kellerman in previous seasons, her pungent mezzo and keen dramatic instincts gracing such roles as Antonia’s mother in Hoffman and Rigoletto’s sultry Maddalena. Toss in her considerable dark beauty, and a try at Carmen seemed inevitable; the current season saw her take on Bizet’s Gypsy, in an impressively nuanced role debut. The habanera was voluptuous of tone, and Kellerman’s intelligently shaded Seguidilla purred erotically. Carmen is one of opera’s iconcic characters, of course, and Kellerman is a developing artist, but this was a highly promising assumption that will bear watching closely in seasons to come.”
Opera News
“When Janara Kellerman struts on stage and launches into the famous habanera’s slinky chromatic descent, it’s easy to forget everyone else. Her voice is simultaneously agile and strong, like a big game cat that prowls through the underbrush pouncing on its prey. With her thick black hair, smoldering gaze and brazen swagger, Kellerman casts a spell more potent than a cloud of smoke. She deftly combines her character’s dramatic sense of abandon with the score’s demand for vocal control.”
Des Moines Register
Maddalena in Rigoletto
“Janara Kellerman was terrific as Maddalena, singing resplendently and characterizing with teasingly erotic humour; one hopes that somebody is planning Carmen for her.”
Opera News
“Mezzo Soprano Janara Kellerman comes of age in the sultry role of Maddalena. Here she makes the giant leap from talented singer to true artist.”
Des Moines Register
Mother in Les Contes d’Hoffman
“Janara Kellerman sang beautifully in the Act II trio.”
Des Moines Register
“….the portrait trio a highlight of the evening with Janara Kellerman’s Mother displaying a mezzo timbre velvety as the nap of a big, juicy peach.”
Opera News
Lady Essex in Gloriana
“Janara Kellerman gave a splendid portrayal of Frances.”
Dryade in Ariadne auf Naxos
“Lindstrom and Kellerman lent fine support as Penelope and Frances respectively.”
Opera News
La zia Principesa in Suor Angelica
“Later, Angelica confronts her aunt, the old Princess (the compelling Janara Kellerman), who is implacable yet vulnerable: She leans wearily on her scepter, and a look of trouble and guilt flickers across her face when Angelica, still ignorant of her child’s death, longingly sings of her son.”
Peoria Journal Star
Alto Soloist in King David
“The three soloists were very good — especially Janara Kellerman, a creamy rich mezzo soprano”
Cedar Rapids Gazette
Tisbe in La Cenerentola
“The sisters — not uglified in this production — were well sung by soprano Cara Johnson and the voluptuously dark mezzo of Janara Kellerman.”
San Antonio Express-News
Suzuki in Madama Butterfly
“One of the brighter performances of the evening came from mezzo soprano Janara Kellerman . sings so expressively but then carries magnificently over full orchestra.”
Des Moines Register
“The night was also a triumph for mezzo soprano Janara Kellerman, who loaded the supporting role of Suzuki with warmth and charisma.”
Cedar Rapids Gazette
Flora in La Traviata
“Cedar Rapids’ own Janara Kellerman is captivating in the role of Flora. Though only onstage for a short time, Kellerman makes the most of it with a vibrant performance as Violetta’s party-loving friend.”
Cedar Rapids Gazette
