As Countess Almaviva in Le nozze di Figaro with Salt Marsh Opera in Old Saybrook, CT - October 2014
But it was Kerr who dominated the stage when she first appeared in the second act, feeling woeful about Count Almaviva's infidelities. Singing in Italian with English supertitles projected on a screen, Kerr gave her character a brooding demeanor while delicately negotiating a series of difficult runs...Salt Marsh Opera once again has managed to pull off a demanding opera - this time by finding Kerr, a star in the making, and surrounding her with a cast of talented singers.
- Lee Howard, The Day
As Mimì in La bohème with Glow Lyric Theater in Greenville, SC – 2014
Kerr is also in great form on her solo numbers, with a divine, mellifluous soprano that seems entirely unforced while also being powerful.
- Neil Shurley, The Greenville News
As Susannah in Susannah with IVAI in Tel Aviv, Israel – 2013
At the center, with a glowing brilliant soprano, a fascinating vocal and dramatic ability, stood Ashley Kerr as Susannah. She portrayed a person full of naïveté in the first act, who goes through a bitter awakening in the second act.
- Tzvi Goren, Ha-Bama
As Mary Magdalene in Jesus Christ Superstar with Glow Lyric Theater in Greenville, SC – 2013
Ashley Kerr may fare best among the singers with her warm renditions of “I Don’t Know How To Love Him” and “Could We Start Again.”
- Examiner.com
Ashley Kerr, as Mary Magdalene, offers a moment of pure magic with her rich, beautiful I Dont Know How to Love Him.
- Paul Hyde, The Greenville News
As Myrrhine in Lysistrata at Fort Worth Opera – 2012
In an opera about relationships and lovers that centers around Lysia and Nico’s love, the true power couple from a vocal standpoint was Myrrhine (Ashley Kerr) and Kinesias (Michael Mayes). Kerr had the strongest of the female voices, and beautifully navigated the dual voice-type of mezzo-soprano and soprano that Adamo calls for throughout the work. Not only did she sing well in tandem with her lover, she was the most consistently strong soloist of the performance as well. Her aria Peace: yes! Of course… was the musical highlight of the evening. And even though the aria is somewhat humorous in nature, somehow Kerr adds a depth to it that made it one of the more emotionally sincere arias of the production.
- David Weuste, Everyday Opera
The united women humorously performed as a Greek chorus as they observed Myrrhine, sung with a plush and seductive mezzo-soprano voice by Ashley Kerr. She beguiled her warrior husband, Kinesias, and taunted him. When she left him groaning and unsatisfied, the chorus commented, "Strategy is everything."
- Laurie Lynn Lindemeier, Pegasus News
His beloved, Myrrhine, is sung spunkily by Ashley Kerr.
- Scott Cantrell, Opera News, Dallas Morning News
Baritone Michael Mayes wields a dreadnaught-class voice as an Athenian commander, and he matches up well with the attractive soprano of Ashley Kerr as his girlfriend who’s among Lysia’s protesters.
- Krisatian Linn, Fort Worth Weekly
Soprano Ashley Kerr and baritone Michael Mayes (the latter a native of Cut and Shoot,Texas) were striking as the secondary love interest, in a subplot lifted whole out of Aristophanes.
- Wayne Lee Gay, D Magazine
As members of Lysia's revolt against the men of Greece, Jamie-Rose Guarrine, Liliana Piazza, Meaghan Deiter, Alissa Anderson, Corrie Donovan, Hailey Clark, Ashley Kerr and Amanda Robie are fun to watch and listen to as they alternate between the strong women warriors who take over the Acropolis and the more emotional characters who simply want to be with their husbands. Kerr especially stands out in the role of Myrrhine, especially in the scene where it falls to her to exacerbate the men's condition by flirting with and then rejecting her husband's advances.
- John Norine Jr., Theater Jones
Ashley Kerr lent a powerful voice and exceptional musicianship to Myrrhine.
- Evan Mitchell, bachtrack.com
Ashley Kerr, an alumna of the Opera Studio, lent Myrrhine some of the afternoon’s most passionate vocalism; I’m nuts about her sound, and it’s telling, I think, that a role I hardly remembered from six years ago now seems quite rightfully the second female lead in this opera.
- Bill Madison, billevesees
