November 21, 2017Shepherd Express - Cerrone "The Pieces That Fall to Earth"
“Soprano Lindsay Kesselman gave the music heartfelt presence in exciting singing that roused the audience to spontaneous ovation."
November 01, 2017Gramophone - Andriessen Theatre of the World
“Premiered in 2016 at the Walt Disney Concert Hall by the Los Angeles Philharmonic under Reinbert de Leeuw, Theatre of the World takes the 16th-century German Jesuit scholar Athanasius Kircher as its unlikely starting point, although his life and work is only one strand in a complex dramatic scenario. Possessed by a need to become recognised as the foremost thinker of his age, Kircher (vividly characterised in the baritone Leigh Melrose’s performance) arrives at the Vatican, where he meets Pope Innocent XI. Accompanied by a young boy with magical powers (excellently portrayed by the lyric soprano Lindsay Kesselman), the three are transported through time and space to various locations including ancient Egypt, the Tower of Babel and Dutch-colonialist China."
September 28, 2017Guardian - Andriessen Theatre of the World
“There are superb performances from Cristina Zavalloni as Juana Inés de la Cruz, the Mexican nun in whom Kircher thought he had discovered a soul-mate, and Lindsay Kesselman as the boy who guides him on this surreal journey through his memories."
June 01, 2017Fanfare Magazine - Antique Violences CD Review
“Kesselman, an artist of growing reputation for her artistry and intelligence, sings the uncommonly beautiful songs with heartbreaking restraint and a voice of goddess-like splendor. I predict great things for her career."
September 01, 2015American Record Guide - Atonement CD Review
"....Kesselman is captivating in her selections, rendering them with her gorgeous voice, crisp diction, and a compelling tragic character. Her singing and enunciation in the English language are so good that one scarcely needs the text; it rolls off her tongue with perfect strength and clarity. Moreover, her wordless chant in the final movement of the Chambers is both vivid and haunting."
December 19, 2014MSU College of Music - On the Move
“Lindsay was always one of the most hard-working students I've ever taught. No music was too hard or challenging for her, and she blossomed with each new challenge," says Melanie Helton, professor of voice and director of the MSU Opera Theatre. “She has taken all of her abilities and created a successful career -- one that is uniquely hers." -
April 08, 2014New York Times - La Commedia by Louis Andriessen
The limpid soprano Lindsay Kesselman, as Beatrice, shone in her few appearances.
February 26, 2014Carnegie Hall Debut - New York Concert Review
Soprano soloist Lindsay Kesselman made (Corigliano's Mr. Tambourine Man) her own in a performance filled with passion. Her diction was excellent and the colors of her voice really brought out the meanings of Dylan’s lyrics. There were countless moments of excellence, but I will mention just one that caught me off guard. The last line of Masters of War (‘Til I’m sure you’re dead) was delivered with a bone-chilling, angry hiss that I was not expecting from such a radiant voice! She was a joy to watch and hear, and when she finished Forever Young, the audience gave her a richly deserved and prolonged ovation. Mr. Corigliano came to the stage and shared his enthusiasm for the superlative performance the amazing Ms. Kesselman gave of his work.
November 03, 2013Fanfare Magazine- Bright Angel CD Review
She has a fully loaded palette of tone color...the real star of this offering is the soprano, Lindsay Kesselman. Her singing is simply gorgeous.
October 02, 2013John Corigliano, Composer
"Lindsay Kesselman possesses a marvelous voice which she uses in an incredibly musical way. She is unafraid of taking chances, and that puts her in a special category of artist. I think she is wonderful."
September 30, 2013American Record Guide - Bright Angel CD Review
"Luevano has great energy, a pleasant tone and solid fingers...Koga is solid at the keyboard, granting each score the essential character and rhythmic intensity...Kesselman steals the show with exceptional color and clarity, superb diction and heartfelt phrasing; her command of both traditional lyricism and Sprechstimme is breathtaking...important contribution to the repertoire."
September 24, 2013Washington Post: Mirage
The Mirage players — Nicholas Photinos on cello and Yasuko Oura on piano, as well as soprano Kesselman — played with virtuosity and conviction all afternoon, and those qualities were on full display in perhaps the most accomplished work on the program, Kaija Saariaho’s shimmering, otherworldly “Mirage" — a piece that inspired the group’s name. It’s a work of ravishing sonic beauty and imagination, rich in both complexity and poetry, and the trio gave it a vivid and completely assured reading — a memorable performance in every way.
July 25, 2013CD Reviews: Bright Angel
"Fleur De Son’s recently released “Bright Angel: American Works For Clarinet And Piano" is an album that does right by new music in this country....(it) features three of today’s most fabulously gifted interpreters of contemporary music. Their performances are exquisite as is their ensemble chemistry...."
July 20, 2013Pittsburgh Tribune-Review: PNME connects with world premiere of 'Falling'
Soprano Lindsay Kesselman sang with beautiful sensitivity.
April 20, 2013Sequenza21.com ('Pierrot' Reborn)
"...I (was) drawn into the performance by the stellar acting and singing of soprano Lindsay Kesselman and baritone Robert Peavler who brilliantly portray the main characters in "Drunken Moon"....Kesselman's (performance) of the Schoenberg was lively, provocative and convincing..."
July 25, 2012Pittsburgh Tribune-Review
Amy Kirsten's "L'Ange Pale" (The Pale Angel) was magnificently sung by soprano Lindsay Kesselman. Kesselman reached heights of ecstatic virtuosity while always maintaining remarkable accuracy.
July 25, 2011Pittsburgh Post Gazette
The cornerstone was a work of haunting beauty, Joseph Schwantner's "Sparrows" for full ensemble. Set to haiku by the eighteenth-century Japanese poet Kobayashi Issa, stark strains gave way to swirling neo-romanticism. Soprano Lindsay Kesselman intoned the text with simple, radiant expression.
July 15, 2011Pittsburgh Tribune
Joseph Schwantner's "Sparrows" was another high point, a fantastic piece that covers immense ground in a short time. It sets 15 Haiku, very short Japanese poems that were exquisitely sung by Kesselman.
February 16, 2011Sequenza21.com (Harbison's Mirabai Songs)
"(Kesselman's) delivery of the vocal part was captivating and austere and embodied the self-controlled fanaticism that drove Mirabai to create this text centuries ago."
January 26, 2011Amy Kirsten, Composer
"As a soprano, (Kesselman) is not only blessed with a rich and nimble instrument that elegantly maneuvers lyrical line as easily as it does theatrical Sprechstimme and extended techniques, she is also dedicated to the purity of the composer’s intent, no matter from what era she is performing...She is incredibly loyal to the pursuit of the inquisitive composer, often generously giving them a platform in which to experiment, to re-work, to re-imagine – all while engendering a genuine feeling of nurturing and warmth. She can accurately sight read on a dime and memorizes new music effortlessly - skills which are more valuable than precious stone. Her exactness does not preclude spirit, as her musical interpretations are always vivid and most artful."
May 05, 2010ClevelandClassical.com (Orff's Carmina Burana)
"Soprano Lindsay Kesselman also spent a long time sitting, only to shine with exuberance when we reached the Court of Love. Wearing a red dress that perfectly matched the words of "Stetit puella -- there stood a girl in a red tunic", she sang her parts with vibrant, clear and expressive tone, ascending to dizzying heights in Dulcissime."
February 15, 2008Music to My Ears, Atencion (San Miguel de Allende Baroque Music Festival)
"Kesselman executed the melodic leaps of Purcell’s Music for a While with dead-on pitch, and had her finest moments of the evening in a moving performance of that composer’s Oh Let Me Weep, one of the true masterworks of early English song. Ms. Kesselman returned the next afternoon for an informal lecture-performance at Casa Grau of early Italian songs and arias well-known to every first year voice student, ably accompanied by harpsichordist Miguel Cicero...Especially notable was a subtly ornamented Tu lo sai by Giuseppe Torelli, her full-out singing of Alessandro Scarlatti’s O cessate di piagarmi, and the heartfelt and eloquently sung Lascia ch’io pianga, from Handel’s Rinaldo."