Olyrix, A Midsummer Night’s Dream – Opera de Lille, May 2022
« Louise Kemény, soprano, incarne Helena, amoureuse de Démétrius, mais négligée par lui et versant dans une cocasse paranoïa. La voix chatoyante de couleurs et de nuances dynamiques sait se faire “laide” pour de justes raisons d’expression efficaces, avant de redevenir lyrique à souhait une fois son amour reconnu par Démétrius. »
Opera Online, A Midsummer Night’s Dream – Opera de Lille, May 2022
« Il n’y a pas non plus de maillon faible parmi le quatuor d’amoureux humains : David Portillo (Lysander), Antoinette Dennefeld (Hermia), Charles Rice (Demetrius) et Louise Kemeny (Helena). Cette dernière tire peut-être encore mieux son épingle du jeu en raison de l’agilité de sa voix et de son explosivité scénique. »
Le Monde, A Midsummer Night’s Dream – Opera de Lille, May 2022
« Au velours du mezzo d’Antoinette Dennefeld (Hermia pleine de charme) répond le soprano chatoyant de sa rivale et amie, Helena, campée par une Louise Kemény entre hystérie et désespoir. »
Concert Classic, A Midsummer Night’s Dream – Opera de Lille, May 2022
« Les lits à roulettes seront bientôt deux, puis quatre, et les scènes entre les amoureux ont toute la drôlerie attendue, sans excès toutefois. Au mezzo délié d’Antoinette Dennefeld répond le soprano charpenté de Louise Kemény… »
Opernmagazin, Monteverdi – Opernhaus Zurich, January 2022
“Was für ein Glück, ein solches Ensemble am Opernhaus Zürich zu haben. Die Sopranistinnen Lauren Fagan, Louise Kemény, die Mezzosopranistin Siena Licht Miller, der Countertenor Aryeh Nussbaum Cohen, der Bass Brent Michael Smith, sowie die beiden Tenöre Edgaras Montvidas und Anthony Gregory überzeugten auf der ganze Linie.”
Tagblatt, Monteverdi – Opernhaus Zurich, January 2022
“Wunderbar, dass Minasi auf die glutvollen Opernstimmen von Lauren Fagan, Louise Kemény, Siena Licht Miller; Aryeh Nussbaum Cohen, Edgaras Montvidas, Anthony Gregory und Brent Michael Smith vertraut. Sie sind das Salz und Pfeffer einer Inszenierung, die die Genannten als mitgestaltende Akteure eines elegischen Tanzgeschehens einsetzt.”
Generalanzeiger, Agrippina – Theater Bonn, June 2021
“Im Zusammenspiel mit der Regie gelingt es der Sopranistin immer wieder, die Vielschichtigkeit der Figur musikalisch wie darstellerisch auszuleuchten.[…] Kemény ist eine Sängerin, die ihre Gesangskünste in den Dienst virtuoser Koloraturen stellen kann, und wenig später in seelische Tiefen abtaucht, die sie etwa in der Arie “Pensieri, voi mi tormentate” mitfühlend und wohlklingend zum Ausdruck bringt.”
liveinderoper, Agrippina – Theater Bonn, June 2021
“Louise Kemény glänzt als die Titelheldin Agrippina, und verleiht ihrer Figur mit makellosen Koloraturen und fantastischem Minenspiel die feine Doppelzüngigkeit der Rolle […].”
Badische Neueste Nachrichten, Tolomeo, re d’Egitto – Karlsruhe, February 2020
“Orlinski verkörpert die Depression des gebrochenen Königs überzeugend. Sein Timbre ist warm und wunderschön. Man lässt sich mitreißen […]. Louise Kemény ist ihm mit ihrem betörend blumigen Timbre, strahlenden Höhen und sehr beweglicher Stimme eine ebenbürtige Partnerin. Die zwei Duette: bezaubernd! Ebenso gekonnt wie Kemény charakterisiert Morgan Pearse seine Rolle […].”
die-deutsche-buehne.de, Tolomeo, re d’Egitto – Karlsruhe, February 2020
“Louise Kemény singt sie mit rundem, warmem Sopran und vielen Nuancierungen in Farbe und Dynamik.”
Das Opernglas, Tolomeo, re d’Egitto – Karlsruhe, February 2020
“[…] singt die britsche Sopranistin Louise Kemény die Seleuce auf so bezaubernde Art und mit so glockenklarer Stimme, dass man ihrem subtilen, ganz nach innen gekehrtem Gesang stets mit großer Aufmerksamkeit folgt.”
onlinemerker.com Tolomeo, re d’Egitto – Karlsruhe, February 2020
“Die Seleuce wird von Louise Kemény mit einem fast mädchenhaften Sopran gegeben, in den sie aber ihre Sehnsucht nach dem verloren geglaubten Geliebten stark einfließen läßt. Ihr konsistentes schön ausgesungenes Legato in der Koloratur spricht schon jetzt eminent für die junge Britin.”
Kölner Stadt-Anzeiger, Der Rosenkavalier – Theater Bonn, October 2019
“Louise Kemény (Sophie) captivates with her fine lyrical vocal colouring and musical distinction. The presentation of the rose … is vocally excellently shaped, as is the final duet.”
Bundesstadt, Der Rosenkavalier – Theater Bonn, October 2019
“Louise Kemény (as Sophie) provides goosebump moments in the second act with her gently blazing soprano voice.”
General-Anzeiger Bonn, Liederabend – Theater Bonn, February 2019
“Eric Saties “Socrate”….Das Drama spielt sich hier ausschließlich auf der Textebene ab, die von Louise Kemény vollendet wiedergegeben wurde.”
“Im französischen Parlando-Flow zeigte sie… sprachlich einige Finessen, die beim Zuhören immer wieder aufhören ließen. Auch stimmlich bezauberte die Absolventin des Royal Conservatoire of Scotland über alle Maßen.”
Kultura Extra, Hänsel und Gretel – Theater Bonn, November 2018
“Louise Kemény mimt die Gretel jungmädchenhaft mit farblich nuancenreich-lyrischem Sopran.”
Der Opernfreund, Xerxes – Theater Bonn, October 2018
“Louise Kemény (Romilda) sang, with an angelic, bell-clear soprano voice, even the most extraordinary top notes flawlessly and with a beautiful sound. The Bonn audience also rightly cheered the hilarious character she delivers, with bright yellow wig and striking costume.”
Bach: Matthew Passion, OAE Tour, March 2018
Olyrix, Charles Arden
“Accompanied by two oboes, soprano Louise Kemény deployed a radiant timbre, with ethereal vibrato, very well suited to the spirit of joy, hoping, anticipating, the resurrection of Christ.”
Evening Standard, Nick Kimberley
“If there was a single instant that signalled the change, it came in a duet between Claudia Huckle and Louise Kemény, their voices gorgeously intertwining with flutes and oboes.”
Faure, The Complete Songs, Vol.3, CD Review, 2018
Gramophone, Tim Ashley
“Louise Kemény, her voice like a flash of silver, sounds beautiful in the ‘Ave Maria’ from 1895.”
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
edfringereview
“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.”
BroadwayBaby ????
“(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
Varsity ???
“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
Opera Magazine
“Louise Kemeny made the greatest impression as Lady Macduff, delivering a welcome note of purity and light in Act 2 before being dispatched”