KRISTEE IN THE PRESS
Tulsa world Article, February 2019
“Owasso graduate-turned-famed singer stars in Tulsa Opera’s ‘The Little Prince’ “
The little prince, February 2019
“Sunday's performance was highlighted by some exceptional performances … Haney was an antic and appealing Fox … “
Morena, October 2018
“The most moving and poignant moment in the program came in the extended solo “Sareri hovin mernem” (I Would Die for the Mountain Wind) performed by Laidler … Owen’s outstretched and often emotionally wrenching choreography and Laidler’s performance of it were outstanding as was the ethereal singing of Botero and Haney.”
Brokeback mountain, june 2018
"Brokeback Mountain, the opera, has finally come home. ... the work made its way back to NYCO for its American premiere at the Rose Theater ... Kristee Haney charmed with her motherly concern as Mrs. Beers"
Mozart Requiem, AUGUST 2015
"... simultaneous displays of voracity and grace, with a keen understanding of the implications of the mass’s rich text; ... All the soloists performed well, but it was mezzo-soprano Kristee Haney who excelled during the piece, exhibiting a smooth, rich tone, with enough strength to convey the text’s message."
Rigoletto, AUGUST 2015
“Kristee Haney does beautiful work as Maddalena. She moves as beautifully as she sings. Such a tempting wench!”
Rigoletto, AUGUST 2015
"There’s fine work by Kristee Haney in her UAO debut as Sparafucile’s opportunistic sister Maddalena. ... Tight direction, strong singing and credible acting make UAO’s presentation of Rigoletto an achingly effective realization of Verdi’s memorable music and Hugo’s touching tale."
Rigoletto, AUGUST 2015
"Mezzo-soprano Kristee Haney brought Maddalena to vivid life in a well-sung, well-acted turn."
Rigoletto, august 2015
"There's fine singing as well by Mezzo Kristee Haney, darkly seductive as Sparafucile's sister and partner in crime Maddalena ..."
Dettingen Te Deum, August 2014
"This weekend’s concert of a diverse assortment of Handel’s works provided the audience with valuable exposure to some great music. The bulk of the program comprised a setting of the Te Deum, nicknamed “Dettingen” to celebrate the British and Austrian victory over the French at Dettingen in 1743. The singing of the mezzo-soprano soloist, Kristee Haney, whose timbre and line-shaping were consistently sensitive, appropriate, and accurate was of particular note."
Messiah, December 2013
"The musicians performed with great intimacy and expressiveness, ... Particularly good moments in the oratorio were the tenor aria “Every valley shall be exalted” by Kyle Stegall and “Then shall the eyes of the blind be opened” by mezzo-soprano Kristee Haney."
The Magic Flute, NOVEMBER 2013
"The Three Ladies (Andrea Garritano, Kristee Haney, and Tara Cooper) were a feminine powerhouse—a dynamic, demonstrative trio. ... the Ladies still represented a single, forceful entity that aided in continuity across the dynamic story "
Duruflé Requiem, April 2013
"The Pie Jesu ... Kristee Haney’s solo was a plaintive, repetitive plea, sensitively rendered—nothing gratuitous here, just carefully wrought descending melodic lines with a vibrato appropriate to this repertoire. "
Nixon in China, March 2012
"Nixon in China is drawn on a scale that is as grandiose as anything in opera, and the best productions of it embrace this cultural, historical and conceptual expansiveness with all their hearts. The Lyric Opera of Kansas City has taken up that challenge, ... and the production of John Adams’ and poet Alice Goodman’s 1987 opera that opened March 10th does extraordinary service to this path-forging piece of theater.
It is not just a highlight of the current season, the Lyric’s first in the Center, but it’s one of the most ambitious undertakings in the company’s history. ... Mao’s three assistants (Holly White, Kristee Haney, Jennifer Powell) sang their bizarre “echo-trios” with admirable clarity."
Nixon in China, march 2012
"John Adams’s "Nixon in China" was a visual, aural, psychological, and philosophical tour de force filled with timely allusions and timeless humanity. Building off an already remarkable season, the Lyric outdid itself with this gutsy show ... As Mao’s three secretaries, Holly White, Kristee Haney, and Jennifer Powell served as a collective mouthpiece performing with precision and derision. This unified group part follows in the great tradition of Mozart’s Three Boys from Magic Flute and Britten’s Two Nieces from Peter Grimes. Kudos to these young ladies (current and former members of the Lyric Opera apprentice program) for their ensemble chemistry and timbral blend. "
Norma, november 2010
"Norma exists as a vehicle for its singers and what a spectacular vehicle it is. ... KU/Lyric Opera Apprentice Artist Kristee Haney had an impressive debut in the minor role of Clotilde. She was at ease on the stage displaying impressive diction, tasteful vibrato, and depth of tone. "
A Little Night Music, september 2010
"A Little Night Music, like most Sondheim musicals, requires a little work by the audience. The payoffs are considerable though. ... As his wife, Charlotte, Kristee Haney was a vision of pain in purple and gray with her rendition of Every Day a Little Death."
Sweeney Todd, january 2010
"The baritone’s performance contained some inspired moments ... Weber was matched note for note and scene for scene by Haney, who had a wicked old time as Mrs. Lovett. She had the audience from her first number, "The Worst Pies in London," and long before the character (with tongue in cheek) advises Todd to sample "A Little Priest.""
B Minor Mass, april 2009
"Baker led the ensemble seamlessly into the 'Qui sedes' following, in what was one of the most effective sections of the 'Missa' section. ... It was there that the audience was introduced to stand-out soloist, mezzo-soprano, Kristee Haney, whose seemingly effortless agility in scaling Bach's vocal demands was exceptional. Haney's clear, steady tone rang with strength and perfect intonation the night long, and even in the lower register her projection remained powerful and beautiful to hear ..."
Patience, february 2009
"The highlight of the production for this reviewer was Kristee Haney, as the plain Lady Jane, who effortlessly played the self-important diva to perfection. Her solo, with cellist Jesse Henkensiefken coming up from the pit, at the beginning of Act II was full ofexpressive annoyance and disdain."