Kelly Kaduce with the Santa Fe Opera’s 2010 production of Madame Butterfly
Kelly Kaduce is a talented soprano whose “warm and tender singing convey[s] the aching vulnerability of the foolishly trusting Butterfly.” We asked her a few of our favorite questions from the Proust social…check out her answers here!
What do you regard as the lowest depth of misery?
Living in a state of personal unawareness.
What is your idea of earthly happiness?
Who are your favorite heroes of fiction? Who are your favorite heroines in real life?
Fiction: Elizabeth Bennett
Real Life: Hillary Clinton
The quality you most admire in a man? The quality you most admire in a woman?
Man: Humility Woman: Fortitude
What natural gift would you most like to possess?
What is your motto?
“Have fun storming the castle!”
What is your present state of mind?
I wish my son were napping right now instead of blowing raspberries.
Do you have a website, Facebook fan page, or a Twitter for everyone to follow?
Facebook page: http://www.facebook.com/pages/Kelly-Kaduce/103465749688411
How do you eat your eggs?
Soft scramble or soft poach
Favorite backstage moment:
First time my husband and I brought our son onstage before a show and walked the set with him.
Getting to work on The Grapes of Wrath was a privilege and a high point of my time here at Minnesota Opera. It was a big epic opera, and a big epic project; leading up to the world premiere, we hosted lots of community events and worked very long hours, but rather than feeling exhausted, I remember feeling energized. Commissioning and producing this amazing new work had both a galvanizing effect on the staff and transformative impact on the company. I think there was simply a different level of ownership in making it a success. Of course, for any opera, the marketing and communications team wants to have great placements in the media, wants it to be a box-office hit, and wants your audience and critics to love it. But when the composer and librettist are at the office every day – living, breathing human beings that become your friends – you want the success for them. (When you stage Boheme, you want it to be a blockbuster, but not because you care at this point what it means to Puccini!)
I started to realize that dynamic at the break of the final run-through. I was standing by Ricky Ian Gordon, the composer, at the top of the steps in the Bemis rehearsal room. We’d just watched the first two acts, which culminate with Noah’s suicide by drowning, when he hears Ma Joad’s lullaby. There was this brief, emotionally charged stillness. Almost everyone in the chorus was frozen in tears. The few guests in attendance were in tears. Artistic Director Dale Johnson was in tears. I was in tears. Ricky was definitely in tears! He asked, “Do you think it’s good?” and I gave him a big hug and said, “Yes, I think it’s good!”