Witch/Mother – Hansel and Gretel / Opera San José

“The ‘worth the price of admission’ performance is that of soprano Kerriann Otaño. As The Mother, her dramatic, Wagnerian vocalizations pierce the sky. But in a wonderful casting decision, she also plays The Witch. Her penetrating voice, her sweeping physical gestures, her bold facial expressions, and her cackling laughter create a delightful and indelible impression. An added dimension to Otaño’s dual mother/witch roles provokes thoughts about multiple aspects of personality that we all have.”
-Victor Cordell, For All Events

“Opening night at Opera San Jose was a bit of a crisis center, … had no obvious ill effects on the result, an enchanting production directed by Layna Chianakas and powered by Kerriann Otano‘s dynamite turn as the Witch. Otano just takes over the place (which is, ideally, what a witch should do). Her high-energy stage presence is downright mesmerizing, reminiscent of Bette Midler in her prime. She handles her magic broom like a samurai sword, preps an oven that resembles the lantern fish from Finding Nemo and even rambles across the stage in a Wizard of Oz-ian bicycle, a gingerbread child filling in for Toto. Otano is also better-looking than a usual Humperdinck witch, but there’s a nice twist to that, too.”
-Michael J. Vaughn, Operaville

“Perhaps most impressive of all was soprano Kerriann Otaño’s virtuoso double-duty turn as both the Mother and the Witch, singing throughout with a combination of well-controlled vocal power and dramatic assurance. If there was anything Freudian to be made of the dual casting, it was left to the side.”
-Joshua Kosman, SF Chronicle

Senta – Der fliegende Holländer / Opera San José 2018

Kerriann Otaño’s engaging, rich soprano has the heft and beauty that makes hers a memorable Senta. Just listen to the variety of color she brings to her opening aria, and revel in its specificity and pliability. Ms. Otaño has the technique and musical intelligence to not only limn the introspective moments with ravishing beauty, but also ride the amassed orchestra with thrilling focus and power.”
-James Sohre, Opera Today

“All four primary singers owned their respective roles and delivered elegant, targeted performances. However, the clear crowd favorites, by virtue of their pure power, grace and ownership of their respective roles were Otaño’s Senta and Bouley’s Dutchman. In particular, the audience held its collective breath during Otaño’s lengthy solo excursions, completely [mesmerized] by the power and expressiveness of her voice. She displayed a breathtaking range throughout, believably transforming into Senta before the audience’s very eyes.”
-Sherrie Perkovich, Communities Digital News

Kerriann Otaño plays Senta, and she powers through this pounding, scorching aria and lovingly caresses its delayed conclusion. …much of her singing is in the lower part of the range. This suits the artist’s strong, darkly-colored vocalization perfectly, as she presents an ideal Senta.”
-Victor Cordell, For All Events

Kerriann Otaño plays Senta with a true sense of love and longing, emphasized by her powerful soprano.”
-Tad Malone, MetroActive Silicon Valley

“The Senta of soprano Kerriann Otaño rang the rafters too and produced a well-disciplined sound that was bigger than life; she also proved to be an adept and sensitive actress.”
-Paul Hertelendy, ArtsSF

“Soprano Kerriann Otaño makes for a winsome Senta, her voice is lovely and very strong.”
The Opera Tattler

“The scene between Senta and the Dutchman is passionate, poignant and ominous. … Both singers had the vocal weight to suffuse these ideas with passion and to ride above the surge of the orchestration. When she floats her voice into the upper register, Otaño’s voice displays the purity necessary to the character’s believability. But it is the weight and darkness in Otaño’s voice that rings truest to Senta, for the girl’s romantic obsession with suffering can only be understood as demonic.”
-Jaime Robles, Repeat Performances

“New York soprano Kerriann Otaño has a bit of weight to her tone, and uses it well, painting the haunting tale in alternating darks and lights. She also has a suitably regal bearing, augmented by Senta’s royal blue dress and black shawl.”
-Michael J. Vaughn, Operaville

Vanderdendur/Baroness – Candide / Washington National Opera 2018

“Zambello has changed certain aspects of casting for the better for today’s audience. Captain Vanderdendur becomes a female, and Kerriann Otaño demonstrates a powerful voice and presence.”
-Susan Galbraith, DC Theatre Scene

“Fellow WNO Domingo-Cafritz Young Artist Program participants… and alumna Kerriann Otano (Baroness and Vanderdendur) each embraced their characters and embodied them well in turn.”
-Grace Jean, Washington Classical Review

“A cast of supporting characters is filled with singers who excel in ensemble acting, several of whom play more than one role, and all of whom appear to be having a rollicking good time. …soprano Kerriann Otaño sings impressively as Vanderdendur, and creates hilarious physical comedy as the Baroness.”
-Molly Simoneau, Schmopera

Older Alyce – Glory Denied / Houston Grand Opera’s HGOco 2017

Kerriann Otano’s deep, powerful soprano gave Older Alyce a commanding presence. Her warm, beautiful rendering of the aria ‘After You Hear Me Out’ stood out as some of the most lyrical and poignantly expressive singing of the night.”
-Sherry Cheng, Texas Classical Review

Otaño well played the jaded exponent of the rising feminist movement, being well inclined vocally towards her numerous dramatic moments.”
-Andrew Schneider, Schmopera

Micaëla – Carmen / Fort Worth Opera Festival 2017

“As [Don José’s] girl-back-home, Kerriann Otaño’s portrayal of Micaëla is vocally strong. She has a big Italianate voice that can sing the big Verdi roles.”
-Gregory Sullivan Isaacs, Theater Jones

“Her delivery of Micaela’s two juicy arias was superb…”
-Wayne Lee Gay, Texas Classical Review

“Don José’s back-home beloved, Micaëla, is usually portrayed as a shy goody two-shoes, but Kerriann Otaño shows up grinning like little Buttercup washed up from H.M.S. Pinafore. Paradoxically, she commands a voice of almost Verdian richness, power and expressivity.”
-Scott Cantrell, Dallas News

“The proper (mother approved) love interest that Don Jose never appreciated was the demure Micaela sung by Kerriann Otano who has quite a bit of fire in her soprano tones for such a sweet little village girl. Her girl-next- door sickeningly sweet smile contrasted in a strangely interesting way with her bold soprano sound.”
-Laurie Lynn Lindemeier, The Column Online

Donna Elvira – Don Giovanni / Washington National Opera 2017

“Making stronger dramatic impressions were Kerriann Otaño’s forceful, feisty Donna Elvira and Ariana Wehr’s sweetly soubrettish Zerlina.”
-Simon Chin, The Washington Post

Kerriann Otaño is a terrific soprano whose vocal abilities were featured in Dead Man Walking. Here she steps into a major role as Donna Elvira, the loyal girlfriend who keeps getting dissed but comes back for more. Differentiating herself from the contained and slightly elusive Donna Anna, she approaches Elvira with generalized fluttering hands and ever-more mussed hair. This take on her character and the focused judgment on Giovanni’s licentiousness made me read her as having an obsessive even battered woman’s complex. Even so, I didn’t feel the power of a vengeful and potentially dangerous unhinged woman as she comes on and gives Giovanni what-for in the aria ‘Ah! fuggi il traditore.’ But Otaño comes back in the second act with renewed clarity and power and sings with exquisite grace ‘Mi tradi quell’alma.'”
-Susan Galbraith, DC Theatre Scene

Kitty Hart – Dead Man Walking / Washington National Opera 2017

“Soprano Kerriann Otaño and mezzo-soprano Daryl Freedman stood out for their vocal power as the distraught mothers of the murder victims.”
-Charles T. Downey, Washington Classical Review

“The victims’ parents are, of course, adamantly against Sister Helen for her compassion for someone they can only see as evil. All four of the singers in these roles – Wayne Tigges, Kerriann Otaño, RoBert Baker, and Daryl Freedman – harmonize with enough passion and tension to match [Susan] Graham’s supplications, pitting parental love against parental love.”
-Barbara Johnson, Broadway World

“The singers that play the four family members of the murdered teenagers have crafted distinct characters but also make a strong, cohesive quartet. The two women, Kerriann Otaño and Darryl Freedman, are well cast as the mothers of the two victims. Their duet that starts out ‘You Don’t Know What It’s Like’ about the loss of their children is heartbreakingly beautiful.”
-Susan Galbraith, DC Theatre Scene

Female Chorus – The Rape of Lucretia / Wolf Trap Opera 2016

Kerriann Otano likewise made the Female Chorus a strong presence, and she produced an impressive tone with a glint of steel around the edges.”
-Tim Smith, Opera News

The Witch – Hansel and Gretel / Washington National Opera 2015

“Despite strong performances from the entire cast,[…] the undeniable star of the show was the Witch, played with stunning virtuosity by soprano Kerriann Otano. As the enticing temptress-cum-wicked killer Otano is spot-on. In addition to her death-defying vocal feats, Otano is aided by all the designers of Hansel and Gretel, all of whose work seems to culminate in its greatest moment in the Witch scene in Act II.”
-Michael Poandl, DC Metro Theater Arts

“Soprano Kerriann Otano gives a wickedly solid performance as the Witch.”
-Jennifer Minich, MD Theatre Guide

“Soprano Kerriann Otaño […] made a delightfully poisonous, overbearing witch, with a cackle that terrified Miss Ionarts.”
-Charles T. Downey, Ionarts

La Contessa – Le nozze di Figaro / Wolf Trap Opera 2015

“There was a good deal to admire in Kerriann Otaño‘s Countess as well. The soprano’s plummy tone, with its mezzo-y tints, would have benefited from more gradation of dynamics, but the phrasing, especially in ‘Dove sono,’ revealed considerable eloquence. Part of that eloquence came from the tasteful application of embellishment, which all the principals employed throughout the performance to valuable effect.”
-Tim Smith, Opera News

“With her generous soprano, Kerriann Otaño‘s Countess projected both longing and understanding. Her ‘Dove sono’ was a philosophical utterance, rather than the standard creamy stream of longing.”
-Joan Reinthaler, The Washington Post

“In Figaro, the singing is strong all around–most notably Kerriann Otaño as the scheming, long-suffering Countess, who delivers two superb and (surprisingly, for this opera) contemplative arias, Act II’s Porgi amor and Act III’s Dove sono.”
-Mike Paarlberg, Washington City Paper

“[…T]he humor only works because of the fantastic quality of singing that it supports. Kerriann Otaño, as the Countess, as well as Lieberman, Smith, Levis, and Richards, were all excellent — clear, strong voices, resonant and expressive, doing more than justice to Mozart’s melodic score. […] Otaño‘s Act 3 aria ‘Dove sono i bei momenti’ was heart wrenching, with a clarity and simplicity that bellied the complications and difficulties of Mozart arias.”
-Tiffany Draut, DC Metro Theater Arts

High Priestess – Aïda / Wolf Trap Opera 2015

And some of the current crop of Wolf Trap artists, including Evan Boyer and Christian Zaremba, as Ramfis the priest and the King of Egypt respectively, made a strong case for the Wolf Trap Opera Company’s continued health. So did Kerriann Otaño as the Priestess, her voice sounding huge through a layer of amplification.
-Anne Midgette, The Washington Post

Katherine – Penny / Washington National Opera 2015

“[…]Katherine (the silvery-voiced Kerriann Otaño)[…]”
-Anne Midgette, The Washington Post

Despina – Così fan tutte / Fort Worth Opera Festival 2014

“You’ll be hard pressed anywhere to find a female Cosi trio to match Fort Worth’s. Both Jan Cornelius’ Fiordiligi and Kathryn Leemhuis’ Dorabella sing ravishingly, sheer vocal beauties allied to nimbleness and an astonishing range of dynamic and coloristic nuance. […] They meet their match in Kerriann Otaño, a powerhouse Despina with major vocal goods and a feisty personality to match.”
-Scott Cantrell, Dallas News

Kerriann Otaño is a full-throated soprano with little of the soubrette about her. Mozart asks her to portray Despina and later, Despina in two outrageous disguises. When she is Despina, she is matter-of-fact, deriving the humor from her deadpan delivery. When she is in costume as two other characters, she plays it as broadly as she can with one even being a hiccupping drunkard. The role doesn’t have all the spectacular music the other two women get. Despina’s arias are more expository and Otaño captures just the right touch of impatience with the two women as she explains how things are in the real world.”
-Gregory Sullivan Isaacs,TheaterJones

“Soprano Kerriann Otaño in her debut, was vocally attractive and dramatically vivacious as the maid Despina, playing the comical aspects to the hilt.”
-Wayne Lee Gay, Front Row|D Magazine

“While all of the singers displayed a nonstop sense of humor and mischief in their antics, none could match Kerriann Otaño in her portrayal of the saucy maid Despina who is a master of disguise. She is a maid to be reckoned with, then a white-coated doctor with a jolting medicinal contraption, and lastly a nasal notary with Italian that sports a Southern drawl. This was certainly ‘Così fan tutte,’ with a twang and a twist.”
-Laurie Lynn Lindemeier, The Column

“Fort Worth Opera studio artist Kerriann Otaño nearly stole the show in the highly comedic role of Despina. Her bright and versatile voice was perfect for the soubrette soprano role while her acting had the audience in stitches at nearly every appearance.”
-David Weuste,Opera Pulse

Elaine – In a Mirror, Darkly / Fort Worth Opera Frontiers 2014

“The 16 young singers who took on these selections were a valiant and talented group; other standouts included Kerriann Otaño, whose lush soprano was affecting in Christopher Weiss and S. O’Duinn Magee’s ‘In a Mirror, Darkly’.”
-Heidi Waleson, The Wall Street Journal

Donna Elvira – Don Giovanni / Seagle Music Colony 2012

Kerriann Otaño as a fiery Donna Elvira with richly nuanced voice.”
-Cathy DeDe, Glen Falls The Chronicle

Maria Corona – The Saint of Bleecker Street / Mannes Opera Theater 2011

Kerriann Otaño’s perky Maria Corona and Luis Alvarado’s warm, solicitous Don Marco in Act III of ‘The Saint.’”
-Steve Smith, The New York Times

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