The three artists singing on March 24 each gave indelible performances that should count among the finest and most complete interpretations heard in New York this season...As Tisbe, Kelly Curtin sang with a crystal- clear soprano that was as round and full at the very bottom of her range as it was in some expertly executed stratospheric embellishments. Both she and Gorstein surrendered themselves completely to the physicality of their roles.

Gornstein and Kelly Curtin’s higher-flying Tisbe won much sympathy with their unpretentious but impassioned acting and their impressive mastery of baroque style. Both showed fresh voices under excellent control, capable of the needed musical refinements. Would that such fine singers had more places to practice their art in New York!

Hasse certainly showcases the voice. Soprano Kelly Curtin and mezzo Kristin Gornstein are more than up to challenge, displaying bravura runs and deep emotion moment to moment.

Last night’s Thisbe was Kelly Curtin (she alternates over the next three nights with Summer Hassan), and she was as charming as the music. The arias were for coloratura, with all the ornaments, leaps of notes (did Ms. Curtin reach high D in her forest scene?), and 18th Century vocal acrobatics. Not only did she perform them effortlessly, but in the midst of the note flurry, she retained the theatrical role of the star-struck teenager.

But for the work’s supremely exquisite aria “Perderò l’amato bene” which Curtin so movingly sang even without the necessary horns, he had Tisbe attempt to assuage her father and serve tea to her unwanted suitor. But as the aria progressed, she asserted her independent spirit rebelled against the falsity of the situation—the entire sequence was simply riveting.

Soprano Kelly Curtin’s role Tisbe is full of expressive passages, and she delivers them with elegance and strength. 

Kelly Curtin’s voice had a lovely fullness all evening, and her intonation and enunciation were excellent. In Act II, the part has some spectacular high notes, which she hit with precision and power, befitting an experienced Queen of the Night. More impressive than technique, though, was her musicality, shaping phrases so the music clearly carried her thoughts, and the character’s internal drama.

"Kelly Curtin’s turn as the Queen is an absolute thrill; assured and spot-on, decked in an appropriately Egyptian-style headdress with floor-length deep blue evening gown, you are in the presence of a star."

Coloratura Kelly Curtin may horde the light as Queen of the Night, but she channels it into aural brilliance in her severe laser-sharp commands and reprimands in the demanding upper range.

The first act presented the mechanical doll Olympia that Hoffman mistakenly fell in love with. Her famous aria “Les oiseaux dans la charmille” was a wonder of kinetics. Soprano Kelly Curtin fascinated with robotic movements that contrasted with her nimble cadenzas and precise coloratura. Add to that her unflawed stratospheric runs and roulades.

Kelly Curtin lands a show-stealing performance as Olympia, the wind-up doll who was Hoffmann's first tragic love.

Curtin, with a rich soprano voice, performs with full emotions the sorrow and anguish of her rejected marriage and why she decides to sue.

“Phantom” is rightfully reserved for the second act, which shows off Kelly Curtin’s incredible operatic range. Out of all Webber’s works, this one gets the biggest showing in the lineup with five songs. Curtin’s performance of the intoxicating and dramatic title track, with all those lovely high notes and crescendos, seriously gave me goose bumps.

Another performer it's worth heading to Riverside for is Kelly Curtin. Remember that name: Kelly Curtin. Gifted with what seemed to be a four octave range, has the looks and the singing talent to show up at the Majestic Theatre in New York and slip in to the wig and costumes of Christine Daae right now. Lucky for Riverside audiences she can be seen in THE MUSIC OF ANDREW LLOYD WEBBER and we get to sample her stunning soprano voice. Curtin, needless to say, sings Christine's songs from both PHANTOM and the more recent sequel LOVE NEVER DIES. I must also provide a bit of a spoiler at this point. The program, for the penultimate section, states "The Phantom of the Opera" and "The Music of the Night" will be sung by "The Phantom." When Curtin begins to wow the crowd with her coloratura trills, who should show up but Broadway veteran and Riverside's producing artistic director Patrick A'Hearn. He joins Curtin for the title song and then takes center stage for a moment that literally stopped the show, as A'Hearn weaves a simple spell of music and magic with "The Music of the Night." This is a moment not to miss in a show you might want to see again and again.

Curtin hit divine high notes in “Wishing You Were Somehow Here Again” from the very popular (and still running on Broadway after 27 years) The Phantom of the Opera"... "Ashley and Curtin’s divine and soaring vocals in “Pie Jesu’ from “Requiem...”