CRITICAL ACCLAIM

"...the Carmen of a lifetime..." – Opera News

Carmen – “American mezzo Kirstin Chávez is the Carmen of a lifetime. With her dark, generous mezzo, earthy eroticism, volcanic spontaneity and smoldering charisma, Chávez has it all, icluding a superb command of French and a sense of humor. And she can dance, too. ….Furlan’s and Chávez’s performances went beyond opera, beyond, musci, to that rare place where theater and truth meet.”

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“...vocally, we’re in the presence of greatness..." – The Reviews Hub

A World of Love – “Vocally, we’re in the presence of greatness. Powerful, crystalline on the higher notes, perfectly articulated passages of complex notation and ornamentation that could easily get lost”

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"...stunningly brilliant performances..." – Bartlesville Examiner

Dead Man Walking – "I think the resounding success of the Tulsa performances speaks volumes for the unique talents and riveting, yet deeply sensitive, portrayals of… Met Opera vet Kirstin Chávez, a native of Kuala Lumpur, Malaysia, as Sister Helen Prejean, De Rocher’s sole confidant and spiritual advisor on death row. [Chávez delivers] stunningly brilliant performances in character portrayals that poignantly carry messages for all to contemplate and reflect upon — if not to be haunted by.”

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"...simply marvelous..." – La Jolla Village News

Thérèse Raquin – “A real find, Kirstin Chavez, is simply marvelous as Therese. Her high pianissimos, seeming to come from the soul of the singer, make one gasp. Her mid to low range is luscious and she is a most effective and attractive actress.”

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"...mesmerized the audience..." – Winnipeg Free Press

Carmen – And then there was Carmen. From the moment mezzo-soprano Kirstin Chavez stepped barefoot onto the stage, all eyes were upon her. In L’amour est un oiseau rebelle, she exuded undeniable sensuality (and cleavage). Her voice oozed effortlessly out of her, throaty and exotic. Moving like a cat languishing in the sun, she oiled her way through throngs of admirers, flashing her white teeth and doing suggestive things with her cigarette. Chavez doesn’t just play Carmen — she is Carmen. Wrapping her legs around various male cast members, she mesmerized the audience who sat silently still, lest they miss one movement, one note of her sizzling sexuality. Who could resist her tantalizing Habanera? Her acting and body language was as evocative as her voice, as she sat in “unladylike” positions, laughed coarsely and rolled her eyes at Don José’s pleas.”