Kathryn Allyn
 

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.

Next performance:
Jazz & Pasta with Kaye & Frank

La Rivista, NYC

Sunday, October 22, 2017
6:30pm 9:30pm

Frank Ponzio, piano & Anna Marie Sell

313 W. 46th St., NYC, nr. Eighth Ave. | Tel. 212-245-1707
See Map | Reserve a table | Menu

…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!

More Calendar

"How Deep is the Ocean"

Review: V is for Victory Disc: Doing it for Defense

Kathryn Allyn, with a huge assist from musical director, co-arranger 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...are splendid contributors to the proceedings.  Allyn sings in a strong, sure voice and internalizes lyrics well beyond her years. When she does a number associated with ...Jo Stafford, Martha Tilton, Ella Fitzgerald, Peggy Lee, Allyn doesn't impersonate them, but does give 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

"Coax Me a Little Bit"

"I Got Lost in His Arms"

Review: 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 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, 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-entendre, she knows how to be subtle and sexy and musical all at one time. - John Yohalem, Parterre Box.

Review: The Gift of the Vagi

Kathryn Allyn on vocals, Frank Ponzio on piano, Tom Hubbard on bass, Hayes Greenfield on sax, all superb and elaborately ornamental. Out comes this pretty lady with a martini dry wit and delivery to match. She proceeds to tell a humiliating story from her past. (Includes wisecracking cops, chill bankers and sexy con men.) The story is funny and would be brief, except that every pause is an opportunity to insert a song, each in a different style.  Eighteen songs (from Irving Berlin to Cole Porter to Clifford Brown to Randy Newman to Willie Nelson to NYC songwriters Bill Zeffiro and Rosemary Loar)... So the whole thing lasts 90 minutes though it feels like much less because: variety and besides, she can sing. - John Yohalem, www.cafeteriarusticana.com