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Vocalist Kathryn Allyn has been called “a vocally lustrous earful” by The Philadelphia Enquirer,
"note perfect" and "a charismatic presence" by the Fort Lauderdale Sun-Sentinel, "musically superb"
by BistroAwards.com and, in
a personal favorite, "grandly libidinous" by Opera News. 

 

Kaye has been heard at
New York City's Cutting Room, The Underground, The West End Lounge, TomiJazz, Somethin' Jazz, Stage72 and the Metropolitan Room, singing
the standards we know and love, alongside rarities virtually never heard, all meticulously arranged in collaboration with noted NYC
jazz pianist and bandleader
Frank Ponzio. 

 

Upcoming engagements include
sets at Tomi Jazz NYC September 26 and November 5, and an appearance at NYC's Cafe Noctambulo
on December 9.

 

 

 

 

 

 

 

 

audio:
Moody's mood
for love

with frank ponzio, piano

For video and audio of performances ....

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|  REVIEWS  |

PLAYING HARD TO GET:  Kathryn Allyn has the sort of smoky velvet soprano that sounds too natural, too unforced to have been operatically trained. In fact, there are many operatic credits to her name, but that hasn’t cut her off from her Kansas City roots and the “dirty blues” that singers with big, far less perfect voices used to shout in the dives of that city before and through the Second World War. Her program at the Triad of fine, forgotten tunes from that era provides the sensuous pleasure of Jo Stafford, the moody nuance of Billie Holiday, the jazzy energy of Betty Hutton in songs recorded by those ladies, but with a sassy wink and a toss of hip that make them Miss Allen’s own. In an era that has forgotten the fun of double-entendres, she knows how to be subtle and sexy and musical all at one time. --John Yohalem, Parterre Box

 

|  JAZZ  |

INDESTRUCTIBLE:
REMEMBERING ANITA O'DAY

When Kathryn Allyn took the stage at The Cutting Room last Tuesday night, she was all va-va-voom in a curve-hugging Valentine red dress…. She joined her crackerjack band-musical director Frank Ponzio, bassist Tom Hubbard, and drummer Vito Leszack-to perform homage to Anita O'Day…Throughout the show, Allyn delivered a wealth of personal and musical history about O'Day with an intelligence and conversational style that was like taking a master class at your bestie's kitchen table…Hoagy Carmichael's classic "Skylark" was originally performed as an instrumental piece. During Ponzio's demonstration the tinkling keys of the piano mingled pleasantly in my ears with the ice water clinking in the carafe at the next table.  Leszack brushed the snare and cymbals, creating a sandy windswept sound as Allyn sang, without pretension, a gentle, lovely version of the standard…She followed with a song that she admitted was never performed by O'Day… proffering "Moody's Mood for Love," a vocalese set to an improvised jazz saxophone solo played by James Moody at a concert in Sweden one night when he was too drunk to remember what he was actually supposed to play. Allyn proceeded to slay this beast with virtuosic agility…There was something transporting about the evening…[Allyn] magnetized me into a world of musicianship and subtle but deep passion.” Remy Block, BroadwayWorld.com

V IS FOR VICTORY DISC:
DOING IT FOR DEFENSE

Singer Kathryn Allyn, with a huge assist from musical director, co-arranger (with Allyn) and pianist Frank Ponzio, stands ready to educate us on the subject of V-Discs in this musically superb set of early 1940s period songs...Tom Hubbard on bass, Hayes Greenfield on saxophone and Scott Neumann on drums each have solos in virtually every number, as does Ponzio. All four men are splendid contributors to the proceedings, which is all the more remarkable since they came together only for this world-premiere event and had not worked together previously...  Allyn has a personal soft spot for Jo Stafford, and she does credit to two songs associated with her: "I Remember You” and "Manhattan Serenade".... beautifully pays tribute to Dinah Shore with "I Fall in Love Too Easily"...  Allyn sings in a strong, sure voice and internalizes lyrics well beyond her years. When she does a number associated with a legendary artist (...Martha Tilton, Ella Fitzgerald, and Peggy Lee) Allyn doesn't impersonate them, but does give just a slight suggestion of their styles. Only when she summons up Ethel Merman singing "Why Do They Call a Private a Private?" does Allyn go all out in delicious imitation.  - Robert Windeler, BistroAwards.com

Particularly strong performances were heard in “Mood Indigo,” “You Go to My Head” and "Mood Indigo” were easily the bluest of the blues songs on the program.  The phrasing was luxurious, and backed by her superb band—Ponzio (piano), Tom Hubbard (bass), Hayes Greenfield (saxophone), and Scott Neumann (drums)—she conveyed the atmosphere of a dark and smoky gin joint."... Coax Me a Little Bit ... was perfectly delivered.  With the relaxed pacing of a catchy samba, Allyn was at once assertive and flirty... Kathryn Allyn has a powerful voice, a wide range, a satirical sense of humor, presence, directness and sex appeal.  The attractive, smart and talented singer appears to be on the path toward becoming a full-fledged member of the jazz community. - Jerry Osterberg, Cabaret Scenes

|  classical |

 MALCOLM (LA DONNA DEL LAGO),
OPERA ORCHESTRA NEW YORK

For all the excellence of [the] singers, it was Kathryn Friest [Allyn] in the pants role of Malcolm who won the audience. Every time she came onstage, she knocked off another amazing vocal feat of fioritura, embellishment, or expressive slow singing. Her voice has that richly creamy mezzo sound that at times hints at true alto quality. Yet she nailed high notes in the range of all sopranos... Since Malcolm is the young love interest of Elena, the music is meant to suggest the same bravura as the two "older" tenors show. As fabulously as they sang, she did them one better.”  —Daniel Vezza,
Classical New Jersey Society Journal

CARMEN, ANCHORAGE OPERA

Saucy vixen Carmen, played by the comely Kathryn Allyn, coupled the fiery gypsy thing with that old borderline personality man-eater behavior that would ruin any guy lucky enough to ... And her voice wasn't bad either!" —Mark Muro, Anchorage Daily News Online

ROSALIND (THE MINES OF SULPHUR),
NEW YORK CITY OPERA

Kathryn Friest [Allyn], was a vocally lustrous earful.” —David Patrick Stearns,
The Philadelphia Enquirer

PRINCE ORLOVSKY
(DIE FLEDERMAUS), SYRACUSE OPERA

Kathryn [Allyn] was the most lovable, perhaps, of all characters, mixing a thick Russian accent (delivered with magnificent diction) with a rich mezzo that dazzled the ears, particularly in her whimsical aria 'Chacun a son gout'.” 
—David Abrams, Syracuse Post-Standard

TEODATA (FLAVIO),
NEW YORK CITY OPERA

In spite of a costume that resembled a cupcake, Allyn provided luxurious vocalism, good looks and theatrical poise...”—Opera News Online

NIKLAUSSE/THE MUSE
(LES CONTES D'HOFFMANN),
PALM BEACH OPERA

As the Muse who masquerades as Nicklausse, Kathryn Friest [Allyn] was note-perfect, providing the most satisfying performance of the night. The petite mezzo was a consistently engaged and charismatic presence and sang with a clear, well-focused tone, making the famous Act 3 Barcarolle bloom beautifully.”  —Lawrence A. Johnson, The Fort Lauderdale Sun-Sentinel

ALOES (L'ETOILE),
NEW YORK CITY OPERA

Kathryn Friest [Allyn] was the stylishly sung, grandly libidinous Aloès.”
—M. Lignana Rosenberg, Opera News

ARIODANTE, NEW YORK CITY OPERA

...most impressively sung and acted by Kathryn [Allyn]....[she] served as the vocal and histrionic backbone of the performances, displaying a richly burnished voice, wide vocal range, and excellent coloratura technique.”
—Howard J. Levin, OnlineReview



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