Frank Kelley sings a wide variety of music throughout North America and Europe. He has performed many roles with the Boston Lyric Opera and the San Francisco Opera Company, has appeared at the Gran Teatre del Liceu in Barcelona, the Theatre de la Monnaie in Brussels, The Franfurt Opera and in the Peter Sellars productions of Die Sieben Todsünden, Das Kleine Mahagonny, Cosi fan tutte, and Le nozze di Figaro. The Mozart operas were recorded by Decca and Austrian Public Television, and were broadcast on PBS's Great Performances. They are available on London video tape as is Weill's Die Sieben Todsünden. In concert performances Mr. Kelley has sung with the Boston Symphony Orchestra, the Cleveland Orchestra, the Chicago Symphony Orchestra, the National Symphony, the Dallas Symphony, the St. Paul Chamber Orchestra, and the Orchestra of St. Luke's. He has performed medieval and renaissance music with Sequentia, the Boston Camerata, and the Waverly Consort, and he performs baroque music with the Handel and Haydn Society, Boston Baroque, Emmanuel Music, Music of the Baroque, and Aston Magna.

Mr. Kelley has also participated in the Blossom Festival, the Tanglewood Festival, Ravinia Festival, Marlboro Music Festival, Pepsico Summerfare, the Nakamichi Festival, the New England Bach Festival, Next Wave Festival, Wexford Festival Opera, and the Boston Early Music Festival. He has recorded for London, Decca, Erato, Harmonia Mundi France, Teldec, Telarc, Koch International, Deutsche Harmonia Mundi, Arabesque, and Northeastern. A resident of Boston, Mr. Kelley sings there regularly with Emmanuel Music, both in the ongoing series which presents the complete Bach cantatas and in special projects, including the complete piano and vocal works of Schumann and Brahms, Schubert lieder, The Magic Flute, Don Giovanni, The St. Matthew Passion and, most recently, Samson. He is on the voice faculty of Boston University.


Jordan Hall at New England Conservatory | November 18, 2016
Jordan Hall at New England Conservatory | October 1, 2004

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[CD Review] ClassicalCDReview Reviews John Harbison: Full Moon in March

Tour de force. I’ve been wading through a lot of contemporary dramatic music these days, mostly from a sense of duty—a very bad reason for learning—from Robert Grey’s “Navajo oratorio” Enemy Slayer to Daron Hagen’s Shining Brow, an opera on Frank Lloyd Wright’s marital irregularities and the awful horrifying destruction of the first Taliesin. I don’t consider either of these examples obviously terrible, but I would feel better for the current state of contemporary music if they were. Both show great craft and at least some talent.

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