• Concert

    Kellock studied with the late mezzo Jan DeGaetani, and she is rather like her teacher: smart, tasteful, directly communicative. In the Finney work, she showed a secure technique. Throughout the cycle, she sang with clear diction, and a refinement that did not allow for fussiness or affectation. As I listened to her, and looked at her, I found that she reminded me of an actress. I couldn?t think who. Later, it dawned on me: Jane Alexander.

    (Jay Nordlinger, New York Chronicle in the New Criterion)

  • Concert

    Judith Kellock displayed amazing talents as a dramatic reader and a singer of rare intelligence and vocal splendor. She brought the characters to life with the skill and cool command of a great actress and she sang the difficult vocal pieces with a voice of indescribable beauty.

    (St. Louis Globe Democrat - K.G. Schuller)

  • Concert

    Kellock delivered this kaleidoscope of words, meaning, thoughts and climaxes with clarity and variety. Her voice has size and beauty but no stridency, and she gives her audience a complete experience of sense, feeling and musicality.

    (Los Angeles Times – Daniel Cariaga)

  • Concert

    Kellock and Amlin did not perform the music; they became it. The notes, like the words, seemed to spring from the vivid feelings of each song's character, for it was in the realm of feelings that perfon-ner, composer and listener merged. With her light, clear soprano, rich in colors and nuances, Kellock proved fearless in her portrayal of the music's emotions.

    (Boston Globe - Richard Buell)

  • Concert

    Kellock surpasses expectations in the way she sings . . . as naturally as reading a recipe but as beautifully as a fine singing musician can make a song. (Spokane)

    (Spokesman – Travis Rivers)

  • Concert

    The tireless Kellock sang four difficult works with a haunting quality of tone, impeccable musicianship and precision of pitch. Her technique is formidable - a prolonged messa di voce on high C holds no terror for her. She sings with completely compelling dramatic involvement.

    (Boston Globe - Richard Buell)

  • Concert

    It was to be plunged into another world, one of outright, risk-taking virtuosity, extremes of range and color - all of which Judith Kellock proved more than equal to.

    (Boston Globe - Richard Dyer)

  • Concert

    Judith Kellock is a soprano with a distinctive, beautifully controlled voice and heaps of style and imagination, especially in music that isn't easy and surefire. In Copland's Emily Dickinson Songs she created a world both cosmic and intimate, and held the listener in it from start to finish. (The capacity audience was still throughout.) This was richly inflected singing - some of the vowel colorations you wanted to take home with you.

    (Boston Globe - Richard Dyer)

  • Concert

    Judith Kellock sang as if her mouth was full of music!

    (New York Times – Anne Midgett)

  • Concert

    The most impressive singing in any of the productions was to be heard in this performance from the American soprano Judith Kellock. She displayed an almost unbelievable agility across an enormous range, and amazed the audience with her ravishing pianissimo tone in the very highest register.

    (Opera Magazine - Gwyn Pritchard)

  • Concert

    Judith Kellock, a soprano with a clear, powerful and appealing soprano, gave consistently eloquent, animated readings of Mr. Foss's pieces.

    (New York Times - Allan Kozinn)

  • Concert

    Ms. Kellock ... has an elegant, distinctive soprano voice with an affecting timbe; moreover, she is a sensitive interpreter and sings exactly in tune.

    (New York Times - Tim Page)

  • Concert

    Soprano Judith Kellock . . sang the 11-song cycle with full regard for the music's wide range of pitch, dynamic and mood.

    (Village Voice - Leighton Kerner)

  • Concert

    The songs ... received comprehensive and touching readings from Kellock and a quintet of New Music Group regulars.

    (Los Angeles Times - Daniel Cariaga)

  • Concert

    It was a series of Scottish folk songs arranged by Haydn. Judith Kellock added clear enunciation of the dialect and an engaging lightness of tone to an entirely sensitive performance.

    (Washington Post - Roy Guenther)

  • Concert

    Dan Welcher's Vox Femina contains an effective mix of styles as the vocalist assumes the personalities of a troubadour, biblical narr ator and love-struck girl, among others. Judith Kellock brought off all these faces without strain.

    (Washingtom Post - Charles McCardell)

  • Concert

    ...her sense of ensemble with the instruments was ideal.

    (Washington Post - Joan Reinthaler)

  • Concert

    (Kellock's) voice is quite astonishing in its range, and she possesses an exceptional ear, intelligence and theatricality. The singing was spectacular with Kellock able to imitate any instrument, and able to reproduce any interval, including microtones.

    (Boston Herald - Ellen Pfeifer)

  • Concert

    Soprano Judith Kellock lifted her glowing voice into the spiritual stratosphere. (Mahler Second Symphony)

    (Boston Phoenix - Lloyd Schwartz)

  • Concert

    Judith Kellock sang the soprano solo in the fourth movement of the Mahler (Fourth Symphony). Her tone sounded clear and rich and her delivery was expressive.

    (Honolulu Star Bulletin - Richard McKinney)

  • Concert

    The poetry was etched into existence by the interpretation of soprano Judith Kellock. Her accuracy, control and empathy with Yasui’s masterful integration of sound and sense gave the folk tales a magical beauty.

    (The Maui News – Liz Janes)

  • Concert

    Kellock is a master of her instrument, effortlessly executing impossible intervals and unexpected rhythms, always with an appreciation of the text.
    (She) interpreted the challenging leaps and daring rhythms of Askim’s piece with an emotional truth that brought the words of love in the poems to life.

    (The Maui News – Liz Janes-Brown)

  • Concert

    Ms. Kellock is a singer of exceptional poise, as lovely to watch as she is to hear. She appears never to take a breath, yet each note enjoys complete support and full development. (Music Festival of the Hamptons)

    (East Hampton Star - Martha Sheehan)

  • Concert

    . . .buoyant piece sung engagingly by soprano Judith Kellock.

    (Pittsburgh Post-Gazette – Andrew Truckenbrod)

  • Concert

    Judith Weir's King Harald's Saga was described in the program as a 'Grand opera in three acts for unaccompanied soprano.' After a spoken introduction to the opera and each of its acts, Kellock performed all the roles, including the chorus of the Norwegian Arrny. It was both a humorous and a moving piece with startling effects in repeated words and melismatic runs. It was also vocally challenging. Kellock's powerful voice, perfect sense of pitch, and strong dramatic presence held the audience enthralled.

    (Ithaca Journal - Mark Simon)

  • Concert

    Another major piece was King Harald's Saga, which is for single unaccompanied singer - here it was that admirable singer Judith Kellock - who takes all the parts, assumes different voices, speaks the stage directions and handles the props. This is a tour de force for a resourceful singer. Judith Kellock was that singer.

    (Boston Globe - Richard Buell)

  • Concert

    Judith Kellock acquitted herself beautifully in the role, pulling out all the stops and giving a magnificently forceful performance. Kellock approached the role as an actor first, alternately tearing us apart and making us squirm uncomfortably in our seats...


  • Concert

    Kellock is rather like her teacher (Jan DeGaetani):smart, tasteful, directly communicative. In the Finney Work, she showed a secure technique. Throughout the cycle, she sang with clear diction, and a refinement that did not allow for fussiness or affectation.

    (The New Criterion – Jay Nordlinger)

  • Concert

    Depending on the context, Kellock alternated between a parlando style, lovely singing and some downright awful tones. Like Callas she is not afraid to put aside beautiful tone to give us the fullness of drama.

    (Ithaca Journal - Martin Herezniak)

  • Recording

    One can only praise without reservation the beauty and the intelligence of the interpretation: It is sublime. a celebration of the spirit and the senses, guided by the magnificent Judith Kellock. who, with her subtelty, her vocal substance, her transcendant technique, her passionate gragility. and finally, her charm, resemble the incarnation of the great Jan DeGaetani, of whom she was a student. A jewel in the landscape of American contemporary music, and without a doubt, for the future, a great classic.

    (Pascal Brissaud, Repertoire des disques compacts)

  • Recording - Das Marienleben Paul Hindemith - Koch International Classics (2 CD set)

    Judith Kellock has a voice of genuine quality. Her soprano is easeful in alt . . .yet has amplitude below. Her somewhat elegiac tone naturally suits a number of these songs, and she finds additional intensity for James Joyce’s “I hear an Army, and Robert Graves’ “Despite and Still. In the lighter, more playful songs Kellock alters her surface expression accordingly.

    (Stephen Pruslin, International Record Review)

  • Recording

    My praise for the dedication and intonational purity of Judith Kellock is boundless.

    (George Jellinek, Fanfare)

  • Recording - Songs of Samuel Barber – Koch International Classics

    Soprano Judith Kellock sparkles with intensity and easily pulls off the requisite vocal acrobatics.

    (Taylor McNeil, Bostonia Magazine)

  • Recording - Vox Femina Music of Dan Welcher - Gasparo Recordings

    Kellock sings both versions  with great depth of emotion and masters with seeming ease the technical difficulties.

    (Taylor McNeil, Bostonia Magazine)

  • Recording - Cancionero: Chamber Music of Roberto Sierra – Fleur de Son Classics

    Judith Kellock,is, as always, a rock solid vocalist and musician, who exploits her instrument to the fullest, declaiming the strong texts with great energy and variety of utterance, varying her vibrato and timbral spectrum, and swimming in the iridescent instrumental textures surrounding her.

    (Susan Larson, Journal of Singing)

  • Recording

    All these songs make a strong impression thanks to fine performances by Judith Kellock.

    (Peter Dickinson, Gramophone)

  • Recording

    Judith Kellock’s singing is plaintive and artfully understated, very much in the style of her mentor, Jan DeGaetani.

    ( Jack Sullivan, American Record Guide)

  • Recording - King Harold’s Saga – Judith Weir – Albany Records

    Kellock handles the Spanish wonderfully and turns in a wonderful performance.

    (Taylor McNeil, Bostonia Magazine)

  • Recording

    . . . Judith Kellock, a bright and compelling soprano.

    (Anthony Tommasini, New York Times)