PRESS

“The cast of young classically trained singers combined their acting chops with mostly powerful and fluid vocal acumen. I was especially impressed with Elyse Kakacek’s sparkling soprano voice.”
CHICAGOCRITIC.COM

FEATURE: OPERAWIRE

Operawire

March 2020

"The album is a celebration of passion and erotic love, exploring composer Valerie Saalbach’s song cycles... Kakacek, an up-and-coming artist, sets her smoldering lyricism into flame..."

DON GIOVANNI

Bronx Opera

January 2020

"As Zerlina, Elyse Ann Kakacek, deployed her sweet high soprano to great effect. This peasant bride was less wily than naïve."

PARTERRE
 

FEATURE: SINGER SPOTLIGHT

CS Music

October 2019

"I saw an opportunity to give voice to a living female composer, with feminine centric music and poetry, in this time when our culture is desperately craving healthy femininity. I saw an opportunity to use music to promote social change– which can be a rare thing in classical music."

FEATURE: MODERN SINGER

Modern Singer Magazine

November 2019

Ms. Kakacek sits down with Modern Singer Magazine in an interview about the life of a contemporary artist and of her recent album release.

Untethered: The Song Cycles of Valerie Saalbach

August 2019

“There is a crystalline clarity to Kakacek’s voice and the chemistry between Kakacek and pianist Christopher Fecteau could not be better.” 

Untethered: The Song Cycles of Valerie Saalbach

August 2019

"Valerie Saalbach’s three wholly modern song cycles get a bravura treatment from American soprano Elyse Anne Kakacek... Kakacek is an extraordinarily powerful soprano, and the recording here puts her squarely in your living room as if she were there live."

THE REHEARSAL STUDIO
STAGE & CINEMA

princess maleine

dell'Arte Opera Ensemble

August 2019

"Elyse Kakacek’s sizable, unexpectedly deep and honey-colored soprano soars."

PARTERRE
 

dell'Arte Opera Ensemble

August 2019

 

"Princess Maleine, played by expertly by soprano Elyse Anne Kakacek, doesn’t waste away, pining in her stone prison, waiting for a knight in shining armor to save her... Soprano Elyse Anne Kakacek was captivating in the title role as she floated her voice into the heavens with a feathery tone. As Maleine longed to be reunited with Prince Hjalmar, her voice was injected with sweet pathos. When all turned tragic, you felt for Maleine because Kakacek drew you into the character’s joys and sorrows. Kakacek projected confidence in her instrument and a deep understanding of her character’s motivations.”

OPERAWIRE

dell'Arte Opera Ensemble

August 2019

“Ms. Kakacek has a lilting voice, ideal here."

dell'Arte Opera Ensemble

August 2019

 

“Lovely Princess Maleine of Harlingen, a role portrayed beautifully by the lovely soprano Elyse Kakacek, looked and sang exactly right.”

CONCERTONET
VOCE DI MECHE

DON GIOVANNI

dell'Arte Opera Ensemble

August 2018

"As the young bride Zerlina, Elyse Kakacek nearly ran away with the opera... Zerlina's Act I aria "Batti, batti, o bel Masetto" is a tour de force, and her strong acting and vocals are one of the production's highlights."

STAGEBUDDY (NYC)
 

“The singers were superb… Soprano Elyse Kakacek, another Dell'Arte regular, stunned us by her unwavering presence in the role. Her bodily and facial gestures were completely consonant with what was happening onstage. She was an all-too-willing ‘victim’ for Don Giovanni's seduction. Her "Batti, batti" was beautifully sung, as was ‘Vedrai carino.’”

VOCE DI MECHE

L'EURIDICE

The Cantanti Project

February 2018

As Dafne, the bearer of those sad tidings, soprano Elyse Kakacek excelled. Her vocalism combined clarity of tone with depth of feeling, and her facial expressions told of the grief her message cost her. An intrinsic sense of hesitancy in her presentation made clear her reluctance to tell the tale of Euridice's fate. Later, though, as his friends urged Orfeo to seek his beloved in Hades, Ms. Kakacek circled the space in authentic dance moves, exhorting everyone to optimism and the hope of a happy resolution. “

OBERON'S GROVE
 

dell'Arte Opera Ensemble

August 2017

“In a scene which anticipates Wagner's Götterdämmerung Norns (even down to having a contralto sing first), Ms. Gish's La Natura is joined by Elyse Kakacek as L'Eternità and Jungje Xu as Il Destino. Ms. Kakacek looked striking as she sang from the mezzanine; the voice is full and wide-ranging, pinging out into the theater space. When these three singers blended voices, the effect was superb. 

dell'Arte Opera Ensemble

August 2017

 

“Mezzo-soprano Allison Gish portrayed La Natura in the Prologue, with soprano Elyse Kakacek taking the role of L'Eternita and mezzo-soprano Jingye Xu appearing as Il Destino who convinces the other two that Calisto deserves her place in the heavens. The women also appeared as The Furies.”  

VOCE DI MECHE
OBERON'S GROVE
 

flash operas

Experiments in Opera

May 2017

“A truly excellent cast of four singers was employed… The music combined pop elements with contemporary classical techniques. The standout performer among the quartet was soprano Elyse Kakacek as Patty Mars, the writer/entrepeneur… The story, about a tollbooth worker (Maroney) who encounters a desperate, penniliess driver who is a battered woman (Kakacek), seemed compelling. I give both women high ratings for their lyrical singing.”

OPERA NEWS
 

Experiments in Opera

May 2017

 

“The Flash Operas, all 10–15 minutes in duration, were made by Cady, Siegel, Welch, Cristina Lord, Nicole Murphy, and Miguel Frasconi. Fitting their diminutive stature, all the librettos were derived from short stories. And true to the compact, DIY nature of EIO, they shared the same handful of props and a talented and enthusiastic rotating cast of four singers... Lord’s music was lively and showed a special ability to convey sarcasm in the wordless vocal lines of Marx (soprano Elyse Kakacek)… Siegel’s The Wallet left the deepest effect of the evening in terms of expression and craft... From a story by Andrew McCuaig, the wallet in question belonged to one of two toll booth workers (McKeever and Maroney). The man has a crush on the woman, who keeps her distance. He’s also grateful she returned his lost wallet to him. He leaves it behind again, wherein she takes the cash from it and gives it to a battered woman (Kakacek) who has pulled up, fleeing her partner, asking for help… The basic humanity of everyone came through, and the singers were at their most natural and expansive states. A complete, compact drama, well-told.”

NEW YORK CLASSICAL REVIEW

Experiments in Opera

May 2017

 

“Combining six chamber operas, four stellar singers, five instrumentalists, one intrepid conductor, and a stellar artistic team, the self-proclaimed “fun and fearless” opera collective, Experiments in Opera had all of the ingredients to create a richly fulfilling evening of Flash Operas... The variety and quality of compositions and the talent of the performers is welcome evidence of the richness and vitality of the New York music scene… Self-absorbed and ditsy, Patty is portrayed with aplomb by Elyse Kakacek, who nailed the opera’s opening bel canto-style cadenza with good intonation and comedic sincerity… Just as she airs her sadness, a woman (soprano, Elyse Kakacek) who has obviously been battered and beaten appears. The woman sings a lament recalling broken glass, screaming, and a heartbreaking past. The women do not discuss the abuse in detail, but instead join together in a moving duet singing, “We had to leave and we did...that’s our world passing by.”” 

I CARE IF YOU LISTEN

Experiments in Opera

May 2017

 

“The constant for the evening was excellent direction, costume design, solid lighting, and strong orchestration, as well as four skilled singers who covered all the works for the roughly 90-minute program with delicacy, power, and aplomb… Elyse Kakacek, Kate Maroney, Timothy Stoddard, and Eric McKeever proved themselves not only competent but occasionally transcendent. In The Wallet, Elyse’s aria as a battered woman was haunting and heartbreaking, and at the end of the piece, both Kate and Elyse’s characters were caught, singing at the same time, but isolated in uncertainty as their branching future as individuals was intensified by their momentary meeting and connection at the tollbooth.”

THE THEATRE TIMES

DON PASQUALE

Windy City Opera

2016

“Their current production of Donizetti's "Don Pasquale" (Windy City Opera) boasts one of Chicago's most reliable, talented, and hard-working singers - soprano Elyse Anne Kakacek, who can seemingly trill on any note in her scale and hold it out for an entire page of the score."

VOCAL ARTS CHICAGO
 

Chicago Summer Opera

Summer 2016

 

“Chicago Summer Opera kicks off its fourth season with Benjamin Britten's Albert Herring. Previous productions by this young artist program have introduced audiences to exceptional rising talent such as soprano Elyse Kakacek, baritone Samuel Thompson, and countertenor Patrick Terry.” 

St. Thomas the Apostle Church

2015

 

“A Mozart aria sung by soprano Elyse Kakacek had languid beauty.

HYDE PARK HERALD
VOCAL ARTS CHICAGO

The Cobalt Opera

August 2014

 

“Soprano Elyse Anne Kakacek gave Nedda a pretty voice and a pleasing ability to navigate the stage. She was particularly fine in the story-within-a-story displaying marionette-like movement emphasizing how she was stuck in her role in life. She’s a young singer with vocal heft”

American Chamber Opera

2013

 

“The cast of young classically trained singers combined their acting chops with mostly powerful and fluid vocal acumen. I was especially impressed with Elyse Kakacek’s sparkling soprano voice.”

CHICAGOCRITIC.COM
HYDE PARK HERALD

ELYSE ANNE KAKACEK

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