“Believable children from grown-up opera singers are a must, and glamorous Rachel Kelly’s transformation into a feisty boy is utterly convincing; she’s also the most sheerly lustrous singer of the evening.”

“Mezzo-soprano Rachel Kelly, stepping in at a very late stage, was a mellifluous Marguerite with the Halle”

“[Kelly] duetting limpidly with viola and cor anglais soloist in her ​“Roi de Thule” ballad and the ravishing D’amour l’ardente flamme, and sensuously with her tenor in their love scene”

“Stepping in at very short notice … Kelly sang with delicate elegance and unwavering beauty of sound, most of all in an exquisitely gentle ballad about the King of Thule”

“Rachel Kelly in the role of Isabella was absolutely perfect. She has it all; good looks, intelligent acting, a solid vocal technique and a memorable voice…Kelly’s voice has an impressively broad range and she not only moves effortless from the high pitches to the lowest notes, but she – rather unusually – seemed to deliver her best in both of those extremes; her top notes did not lose, but amplify, her voice’s velvety quality, while you were left to admire the depth of her lower notes, especially surprising at her young age and within such a slender frame.”

“the tender, light-voiced Rachel Kelly as the object of [Faust’s] lust, Marguerite…Kelly charmed and touched in her two big solos”

“For the role of Siroe’s brother Medarse, they engaged the Irish mezzo-soprano Rachel Kelly. She sang the beautiful lines of her role with a full, smooth tone”

“As Dorabella, Irish mezzo Rachel Kelly glowed with a warmth expressive of the younger sister’s impulsive, passionate nature. The full, rich tone of her Act 2 confession of indiscretion, ​‘È amore un ladroncello’ (Love is a little thief), was winningly honest.”

“Rachel Kelly sang a delicious Dorabella, radiating honeyed warmth”

“Rachel Kelly was a vibrant Giunone. Entering midway through Act 2, she immediately made her vengeful presence felt, her mezzo glinting darkly with outraged dignity as she transformed Calisto into a bear.”

“Rachel Kelly as Donna Elvira furiously charges across the stage, her bright and agile mezzo-soprano effectively conveying both drama and private pain. Her rendition of Elvira’s lovesick solo was touching”

“Rachel Kelly as a flirtatious Nancy”

“mezzo-soprano Rachel Kelly, whose Idamante was consistently sharply focused.”

“The mezzo-soprano Rachel Kelly, as the eponymous hero, was the only one of the soloists not relying on the score, and her first bravura aria was spirited and exciting. Kelly’s vocal agility and bright, well-centred tone enabled her to create a thrilling portrayal.”

“Her bravura aria ​“Invan Minacci” displayed an heroic, bright upper register and agile runs, while her long crescendo on the first syllable of ​“lasciami” in ​“Cara, deh serbami” gradually bled warmth into her voice – a nuanced, dramatic portrayal.”