One of the best parts of the Bard festival is the opportunity to hear artists again and again. …The soprano Kiera Duffy was as incisive in “Pierrot Lunaire” on Sunday as she was on Friday in Stravinsky’s 1966 setting of “The Owl and the Pussycat.”
-Zachary Woolfe, New York Times, August 12, 2013 – Stravinsky: The Owl and the Pussycat, Schoenberg: Pierrot Lunaire, Bard Summerscape Festival
In the long Finale, a cry from the wilderness is answered as terror turns into love’s overwhelming triumph. The brass blare. The Los Angeles Master Chorale insists that we die to live again. Cooke and the dazzling soprano Kiera Duffy offer skyward liftoff.
– Mark Swed, Los Angeles Times, July 9, 2013 – Mahler’s Symphony No. 2 with the LA
Philharmonic and Tilson Thomas at the Hollywood Bowl
His [Gilbert Kalish] collaborator, Kiera Duffy, sang with penetrating insight and luminosity, and handled the cycle’s three elaborately winding vocalise sections with enviable ease.
– Steven Smith, New York Times, November 21, 2012 – Crumb’s ‘Apparition’ at the Chamber Music Society of Lincoln Center
The remarkable singing actress Kiera Duffy made an evocative and compelling recitant – intoning, whispering, gasping, sighing and shrieking the jagged intervals with a cool, crystalline soprano, accurate of pitch and immaculate of diction.
– John von Rhein, Chicago Tribune, February 27, 2012 – ‘Pierrot Lunaire’ with the Chicago Symphony Orchestra
But Kiera Duffy, as Candide’s fickle love Cunegonde, was the audience’s darling. Looking lovely and relishing the comedy, she aced “Glitter and be Gay”, and enjoyed a lively double act with Kim Criswell’s Old Lady.
-The Evening Standard, UK, June 7, 2011
…up against Kiera Duffy’s wonderfully delivered Cunégonde, piling on the bling as she dazzled her way through Glitter and Be Gay.
-The Guardian, UK, June 7, 2011
The female half of the pair was Kiera Duffy, a brilliant soprano with a lustrous edge that sets it apart from the high-altitude norm. Vocal fans tend to equate soprano acrobatics with the baroque and bel canto periods, but I am willing to bet that the demands of Strauss’s Brentano-Lieder Op. 68 are even greater. This was wonderfully luminous and fluid singing, laced with Rosenkavalier charm.
-National Post, Canada, August 6, 2011
…she dazzled in ‘Glitter and be gay’, crystal clear when striking the stratospheric heights of Cunegonde’s wild enthusiasm for a bling-laden life of recklessness and glamour.
-Opera Today, June 7, 2011
Happily, Kiera Duffy significantly upped the ante every time she opened her mouth, bold, sassy, quite the most unrepentantly slutty Cunegonde I recall seeing, and one who threw off the coloratura campery of “Glitter and Gay” with delicious aplomb, well-stocked jewel-box, E-flat and all… Put Duffy and [Kim] Criswell together, as in “Little Women” and you got a glimpse of what we should have had elsewhere all night: joy unconfined. -Opera Brittanica, UK, June, 7, 2011
Kiera Duffy, ridiculous and hilarious in her impersonations, offered a precisely sung and highly musical Despina. Like [Matthew] Plenk and the other women, she’s a star in the making.
-Atlanta Journal Constitution, April 14, 2011
A strong cast — the standouts included nOah [sic] Stewart, Miriam Murphy, Kiera Duffy, Frank Kelley, the highly promising Irish baritone Owen Gilhooly and, as Charlie, the gifted young treble Michael Kepler Meo — had its work cut out for it, as did the orchestra.
-Opera News, October 19, 2010