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Pyeatt named “Vocalist of the Year” by the Milwaukee Journal Sentinel... |
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L'elisir d'amore,
Adina "Riveting performances....gorgeous voices....wonderful acting.....The lead performers - Kathy Pyeatt as Adina, Michael Wade Lee as Nemorino, Richard Cassell as the huckster and Wade Thomas Belcore, Nemorino's rival - all wield wondrous voices and handle demanding roles facilely....Pyeatt has a luminous voice and presence." Marty Clear, St. Petersburg Times A Mozart Tribute,
Soloist "Operatic excerpts were a special treat of the evening, giving us full dramatic scenes with soprano Kathy Pyeatt rendering Donna Elvira’s blending of the heat of revenge with the pain of rejection, both with undertones of unrequited love, in her aria from Don Giovanni; and then Costanza’s response from 'Abduction from the Seraglio (or Harem),' which challenges any coloratura soprano with its pyrotechnics and sweeping two-octave range and rapid runs. Pyeatt dazzled us all with her success in meeting the challenge, never compromising the rich tones of her fine voice.” Georgia Pampel, Rockriver Times The Abduction from the Seraglio, Constanza "Pyeatt's Constanza gives the show moral weight. She looks great and moves gracefully in the rich, period costuming that Stacey Galloway lavishes on the show. And her singing equals the richness and elegance of the clothes. Pyeatt, a bit player around here for years, has lately sung big roles in small companies out of town, but I hadn't heard her in a couple of years. She seemed to step into Constanza and suddenly became important and mature, attuned to every harmonic and emotional nuance. Pyeatt sang atop reserves of strength; this was a big voice relaxing into Mozartean scale and coloratura and the friendly confines of the Broadway Theatre Center.” Tom Strini, Milwaukee Journal Sentinal “Pyeatt is meant for the part with her strong and expressive soprano voice, plus (she) has the right look and refined quality... Pyeatt and Gagnon also do a beautiful job of portrarying the physicality of their ardor wrapped in each others arms, tenderly caressing as they sing of their love for each other.” Barbara Zaferos, CNI Newpapers “Kathy is a director’s dream – a vivacious, charming presence who is willing to explore any outrageous idea I might come up with and still sing exquisitely,” director Jon Kretzu said. Music Director Pasquale Laurino said Mozart described his first Constanza as a singer with an “agile throat.” “Ms. Pyeatt would require the maestro use many more adjectives,” he said. “She possesses an extraordinary voice of clarion power, dramatic intensity and an enormous range.” Carol Pomeday, Ozaukee Press Poulenc Gloria,
Soloist "The first half was filled by the Poulenc, a "modern" piece that breathed fresh life into ancient Latin texts when it premiered in 1961. Hynson and chorus gave a solid, thoughtful performance of the piece, joined by some glorious vocal work from soprano Pyeatt. She sang with a controlled, polished sound, moving effortlessly through the piece's leaping lines and giving elegant shape to its simpler passages." Elaine Schmidt, Milwaukee Journal Sentinel Peasant Cantata, Soloist "From the overture, in which the exaggerated contrast of the two themes foretold the humorous material to follow, it was a delight. The young soloists, Soprano Kathy Pyeatt and Baritone Paul Busselberg, both have fine voices as well as the musical taste to succeed in a wide variety of productions. From their separate operatic backgrounds, they knew how a touch of flirtation conveyed by facial expression, gesture, and a twinkle in the eye, helped bring the Cantata to life... But the highlight that stayed with me as a memory to hold always was the Pie Jesu, (“Merciful Lord Jesus, Give them rest eternal), performed by the trio of Soprano Pyeatt, Cellist Beert and Organist Rooney, so well blended and balanced that they sounded as a single instrument, a new sound to enchant the soul.” Georgia Pampel, Rockriver Times Gypsy Love, Ilona "Director Jutocsa's more strenuous attempts to enliven "Gypsy Love" are outweighed by his cast's vocal prowess..…….Genuine triple threats are hard to come by in this line of work. Kathy Pyeatt appears to be one. Pyeatt plays the merry widow Ilona - merry widow! There's a title in that!" Michael Phillips, Chicago Tribune “Thrilling singing makes these three hours fly by..... Most marvelous is Kathy Pyeatt as the Gypsy's worldly-wise admirer: she turns every phrase into a discovery and makes it look easy.” Lawrence Bommer, Chicago Reader "Beautiful voices poured from the stage of Cahn Auditorium in Evanston Sunday during the Light Opera Works production of Franz Lehar’s “Gypsy Love.”... Kathy Pyeatt from Milwaukee lit up the stage as Ilona, the wealthy widow with an eye on the gypsy boy.” Dorothy Andries, Pioneer Press La Traviata,
Violetta “passionate in the extreme….Soprano Kathy Pyeatt is no shrinking Violetta. Pyeatt is as slim and pretty as a model, but her voice is strong and she hits the high notes without strain. She skillfully makes the scenes between the two lovers incandescent… When her dying Violetta is suddenly enlivened by Alfredo’s return and sings joyfully, Pyeatt makes us believe for a moment that his love has actually made her well again….this Violetta and her Alfredo fill it completely with the beauty and the sadness of their tragic love.” Dorothy Andries, Pioneer Press Carmen,
Micaela “As Micaela, the innocent country girl who loves and loses Don Jose, soprano Kathy Pyeatt brings a warm and luscious sound to her two big numbers, the duet with Don Jose in Act One and her soaring solo in Act Three.” Larry T. Collins, Springfield News-Leader The Magic Flute,
Queen of the Night “All of the leads were impressive, but Pyeatt's Queen was certainly a standout. By quickly adjusting to a technical glitch in Act I, she allowed the performance to proceed without interruption. Her aria in Act II, when she is demanding that her daughter kill Sarastro, was performed with great verve and was pitch-perfect.” Gary Puckett, Chicago Beacon News Ali-Zade's Three
Watercolors/ Yanov-Yanovsky's Lacrymosa Soprano Kathy Pyeatt sang these songs, based on Azeri poems by Nigyar Refibeili, with just the Verdian heft and intensity they require. Ali-Zade accompanied - this time the piano sounded like a Balinese gamelan orchestra - and flutist Marie Sander played lines that fluttered around the voice like a friendly bird. Pyeatt added immeasurably to Ali-Zade's songs and to Dimitri Yanov-Yanovsky's searing "Lacrymosa." Pyeatt built and built to sing over an ever more intense roil in the string quartet behind her." Tom Strini, Milwaukee Journal Sentinel "Ali-Zade’s Three Watercolors, for soprano, flute and prepared piano, surprised me in idiomatic and successful writing for the voice, something very few composers can do. The language was impenetrable, but Kathy Pyeatt made sense of it vocally as an expressive piece of music." Rick Walters, Shepherd Express Reach for the Stars,
Soloist "Soprano soloist Kathy Pyeatt then sang arias with some celestial associations. Pyeatt’s attractive voice soared above the orchestra in the thrilling top notes in Dvorák’s “Song to the Moon” from “Rusalka...” Pyeatt’s brilliant top shone in the “Hymn to the Sun” from Rimsky’s “The Golden Cockerel,” an aria that evokes for me the Lily Pons era at the Met. Pyeatt’s portion of the program was greeted with warm applause.” John Frayne, Champaign News -Gazette The Christmas Schooner
(2004), Alma
Stossel “Anchoring the cast of women storytellers is Alma the Captain's wife, played by noted soprano Kathy Pyeatt. Her superlative vocal delivery sets the high mark, challenging the entire cast to extend themselves.” Lars Larson, Door County Compass Il Trovatore, Inez "Kathy Pyeatt contributed nicely as Inez. " Mark Thomas Ketterson, Opera News On-line “Perhaps the finest group of Verdi singers the Florentine Opera has ever assembled opened the company's season Saturday, with "Il Trovatore."…The quality extended right through the secondary roles…Kathy Pyeatt, as Inez, more than held her own in several exchanges with Phillips' Leonora.” Tom Strini, Milwaukee Journal Sentinel “Kathy Pyeatt sang Inez with idiomatic Verdi style.” Maria Nockin, Opera Japonica The Christmas Schooner
(2003), Alma
Stossel “Husband-wife team Kathy Pyeatt and Dan Kerkman anchor the show wonderfully as Alma and Peter Stossel. Pyeatt convincingly leads us through the roller coaster life of a devoted captain’s wife, who must cope with the agony of waiting for her husband as he embarks on dangerous waters along with the joy of his triumphant return.” Warren Bluhm, Door County Advocate Mozart’s Exsultate, jubilate “Pyeatt’s voice is big and weighty midrange down and brilliant on top. She has a gift for the long, lyrical line: Mozart gave her many such lines to sing, and they were ravishing. Pyeatt’s sturdy breath support, power and range suggest a Verdian dramatic soprano in development.” Tom Strini, Milwaukee Journal Sentinel “Pyeatt returned to deliver a well-received reading of Mozart's often-heard Exsultate, Jubilate. Her musicality shone with elegance.” Charles Grosz, Shepherd Express Master Class,
Sharon Graham “Possibly her (director, Norma Salvidar) most telling contribution is casting the superlatively voiced Kathy Pyeatt as the student Sharon Graham. When Sharon sings beautifully, completely taking over the stage, she suddenly towers over Callas, changing the teacher-student dynamic.” Gordon Spencer, Shepherd Express Metro “Brilliantly cast...triumph...The Milwaukee Theatre event of the year.” Damien Jaques, Milwaukee Journal Sentinel
Arias and Duets from Judas
Maccabeus “Two grown-up singers, soprano Kathy Pyeatt and alto Kathleen Sonnentag, sang from Handel’s Judas Maccabeaus. Their well-matched voices and the MCO’s gentle, lilting accompaniment made for a lovely, pastoral duet.” Tom Strini, Milwaukee Journal Sentinel “Soprano Kathy Pyeatt and alto Kathleen Sonnentag improved matters when they performed selections from Handel's Judas Maccabaeus. Both singers possess dependable intonation and pleasant timbres.” Charles Grosz, Shepherd Express The Magic Flute,
The 1st Lady “Everything the Three Ladies - Kathy Pyeatt, Kathryn Moore and Malin Fritz - sang sounded like bubbling gossip, giggling or flirtation.” Tom Strini, Milwaukee Journal Sentinel “Kathy Pyeatt, Kathryn Moore and Malin Fritz personified three excellent ladies.” Christine Gransier, L’Opera The Nightingale, The
Maid “Kathy Pyeatt sings the role of the Maid with a lovely, delicate sound.” Elaine Schmidt, Milwaukee Journal Sentinel The Magic Flute,
The Queen of the Night “I liked how you sang with a high voice that was awesome. Everything you did was great! Everyone I talked to said you were great! Your dress was awesome.” Brittany Jelinek, 6th grade |
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