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 Ft. Lauderdale Sun-Sentinel, "musically superb" by BistroAwards.com and, in a personal favorite, "grandly libidinous" by Opera News, Kathryn Allyn has appeared at NYC's Café Noctambulo, The Cutting Room, The Underground, The West End Lounge, TomiJazz, Somethin' Jazz and Stage72.
In her former life as an opera singer, Kaye’s roles ran the gamut from the title role in Carmen (Florida Grand Opera & Anchorage Opera), to Les Contes d’Hoffmann's Niklausse (Palm Beach Opera), to Madama Butterfly's Suzuki (New York City Opera), all the way to Oklahoma's Ado Annie Carnes (Virginia Opera Association). Other assignments at NYCO included leading roles in Richard Rodney Bennet’s The Mines of Sulphur (Rosalind) and Handel’s Flavio (Teodata). In concert repertoire, Kaye was heard with the Tokyo New City Symphony as Alto Soloist in Mahler's Symphony Nr. 2, and at Carnegie Hall, as Alto Soloist in Mozart's Requiem K. 626, Handel's Messiah, Vivaldi's Gloria and Beethoven's Symphony Nr. 9.
As a sprout, Kaye discovered her indispensable sense of comedy while working with The Ohio Light Opera, in the Gilbert and Sullivan canon and the operetta of Europe. The repertory included The Mikado, Utopia Limited, The Pirates of Penzance, and HMS Pinafore (the best one), along with Strauss’ Wienerblut, Zeller’s Die Vogelhandler, German's Tom Jones (you had to see that one to believe it), Gilbert's hilarious translation of Offenbach's Les Brigands, Coward’s Bittersweet and Villa-Lobos’ Magdalena. (NB: Bittersweet, Les Brigands and Magdalena are neglected jewels, and should be done a lot more often.)
Kaye is a political junkie, 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 very naughty cat, Beatrix Cattenborough.
Jazz & Pasta with Kaye & Frank
Sunday, October 22, 2017
…This below-street-level restaurant of 20-odd tables delivers the goods. The surroundings are Old Italian Restaurant 101: Mirrors and old framed prints and posters line the brick- and wood-covered walls, and the pan-Italian menu of classics has no truck with anything nouveau or edgy…Portions here are large— Give careful consideration to the specialties from Bologna. (John D. Rambow, New York Magazine) No cover/no minimum -- you'll have a nice dinner while you hear great songs, it'll be fun!