"In an era that's forgotten the fun of the double-entendre,
Kathryn Allyn has been called "a vocally lustrous earful” by the Philadelphia Inquirer, "elaborately ornamental" and "a martini dry wit" by CafeteriaRusticana.com, "note perfect" and "a charismatic presence" by the Fort Lauderdale Sun-Sentinel, "a mezzo that dazzled the ears" by the Syracuse Post-Standard, "musically superb" by BistroAwards.com and, in a personal favorite, "grandly libidinous" by Opera News; Kathryn sings jazz, standards, torch songs and random tunes people ask for, at NYC's Tomi Jazz, The Cutting Room, The Underground, The West End Lounge, Somethin' Jazz, Stage72, The Triad, Don't Tell Mama, Café Noctambulo, 53Above Broadway and Bar Thalia at Symphony Space.
In her former life as a classical singer, Kathryn appeared in leading roles at New York City Opera, Carnegie Hall, Tokyo Symphony, Florida Grand, Palm Beach Opera, Opera Orchestra New York, Virginia Opera, St. Patrick’s Cathedral and others; Kaye's roles ran the gamut from Carmen (Carmen), Madama Butterfly (Suzuki) and Mahler’s Symphony Nr. 2 (Alto Soloist), to Oklahoma! (Ado Annie), Noel Coward's Bitter Sweet (Manon) and Gilbert & Sullivan's Utopia, Limited (that gal who's name I forget who was funny and had a nice duet). A political junkie and an avocational writer, a smart aleck and a cautionary tale, she's a native of the once-great state of Kansas and makes her home on The Island of Misfit Toys with tenor Sam Kinsey and naughty cat, Beatrix Cattenborough.