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Principal Tenor Roles
Return of Ulysses

"The two meatier tenor roles of the opera were allocated to non-students; University Lecturer David Kellett sang the role of Eumaeus the shepherd with a relentless protectiveness of Penelope. The register and musical style of this role clearly foreshadowed the operatic vocal style of such later composers as Handel, and Mr. Kellett was effective in maintaining the required stamina."

Town Topics
Alice in Wonderland

"Tenor David Kellett is always solid on an operatic stage, and has participated in a number of Westergaard premieres. He and Ms. Jolicoeur performed well in tandem as two heads of the "Caterpillar," and as the "Mad Hatter" (with a great purple hat), he helped bring the scene to the appropriate level of confusion."

Town Topics

"the other singers... David Kellett, tenor... were all in strong voice and met Mr. Westergaard's demands with flexibility and energy."

New York Times
The Magic Flute

"Kellett's tenor was ardent and clear."

The Star Ledger

"David Kellett's voice has been an instrument that I have found appealing since I first heard him over 20 years ago. He had a refreshing lyric quality then that was sufficient in carrying power up to his higher register where it would take on a slightly driven quality. He always reminded me of having a smoothness like "Tito Schipa" several generations ago. Kellett's voice is a finely produced instrument, and he has retained that smoothness of line and production throughout the registers even as age has darkened the tone and added weight. Thus he has now acquired a deeper intensity to other enviable aspects of his singing... I found his performance to be both ardent and powerful as he found the right balance of stoicism and romantic aspiration in his character."

Classical New Jersey

"The third side of the triangle was David Kellett as the lecherous Duke - who sang loudly but displayed subtlety in his second-act recitative and aria, and who sang the final note of "La donna e mobile" without tenors' usual excess."

The News-Times (Danbury)

"As the Duke of Mantua, tenor David Kellett was delightful, winning admiration for his portrayal and fine singing."

The Home Reporter and Sunset News

"David Kellett, who was warmly received by the audience, has a pleasing, young tenor voice. He sings with taste and refinement. Kellett's opening "Questa e quella" was nicely done and his "e il sol dell'anima" passages were lovely. Mr. Kellett is a fine artist and was a loyal servant to the composer in many ways."

Boro Park Community News
Bastien and Bastienne

"Soprano Anne McKenna and tenor David Kellett balanced each other's voices deliciously as the young sweethearts."

The Washington Post

"Also outstanding is David Kellett, an elegant refined villain with menacing poise in every gesture and a bell-like tenor."

The Princeton Packet

"Tenor David Kellett was likewise effective as the courtier Eutropio, who gave a brief spoken plot summary, in English before each act."

The Star Ledger
Twelfth Night (Amram)

"Set apart from the rest of the cast was the pleasing, seamless tenor of David Kellett in the role of Feste."

Bernard Holland, The New York Times
Albert Herring

"David Kellett starred in the title role. A slender lad, he looked like the perfect nebbish until his "emancipation" at the opera's end. Kellett sang with a pure, accurate tone and with excellent diction. His overall handling of the role was outstanding."

The News Times
Il Barbiere di Siviglia (Paisiello)

"The Rosina, Anne McKenna and the Almaviva, David Kellett were winning."

Andrew Porter, The New Yorker
Il Giovedi Grasso (Donizetti)

"... modestly, but attractively performed by artists who showed wit and some character. The best of them were ... and David Kellett, the Ernesto."

Andrew Porter, The New Yorker
The Barber of Seville

"David Kellett sang the role of Count Almaviva with a tenor of unusual quality and he made a likeable hero. His two first act serenades were meltingly sung."

The Trenton Times

"His clear, light tenor was especially suited to the recitative sections which he performed with freedom, clarity of diction. His agile, full sound lent grace and beauty to the aria sections. His acting in the straightforward role of lover was convincing."

The Princeton Packet
Die Fledermaus

"Tenor David Kellett was a remarkable singing-actor as Eisenstein."

New York Senior Connection

"The Eisensteins ... David Kellett, delivered their parts with nice vocal presence and physical aplomb."

Borough Park Community News
Blennerhassett (Giannini)

"The cast with David Kellett and ... as the lovers, were both personalities and artists."

The Daily News

"... and David Kellett were the strong principals."

Bernard Holland, The New York Times