A feline Despina dressed like the ladies' PA, with a realistic outlook of men and women and of the belief that women should be as naughty as the opposite sex. I'm no stranger to Kennedy's voice and found it a pleasure to see and hear her again as the multilinguist witch doctor and clumsy notary. 

Theatre 1 

If I single out Caroline Kennedy’s Despina it is only because her casting was very good – she is almost ideal in the role and I hope that the Royal Opera House and Glyndebourne were watching. She was, as a Despina needs to be, a delightful combination of naughtiness and sweetness – very pretty with a powerful melodic voice that belied her compact size! 

London Theatre

... and Caroline Kennedy catching the eye as an embittered Despina.

The Times 

If there is a star performance it is given by Caroline Kennedy as Despina, the game show stage manager, who sings superbly and sharply conveys Despina’s ambivalence about the deception she is helping to manage

Plays to see

Despina (the significantly gifted Caroline Kennedy) his long-suffering, sassy production manager, boasting a range of comic accents as well as her warm, bright soprano, 

Theatre cat

Caroline Kennedy displays excellent comedy skills as the Don's ally Despina 

Daily express 

Kennedy's world-weary Despina was beautifully coloured (complete with an impressive collection of accents) and deftly sung...

Alex c opera 

Caroline Kennedy’s performance, as Musetta, gives a superb balance to the production, with wonderfully comic moments, mainly involving the men of the audience, followed by glimpses of touching self-knowledge and worldly wisdom, all hidden behind her brash and brazen exterior

Theatre breaks 

Caroline Kennedy’s well-sung Musetta was played as cynical, flirtatious and manipulative and not above straddling and teasing a male member… of the audience for comic effect.

London unattached 

Caroline Kennedy as Genevieve- her crystal clear soprano range is a joy to the ear.

Remote Goat

A fine young cast of professionals, particularly fine is soprano, Caroline Kennedy 

Tribune 

Caroline Kennedy registered positively as a Barbarina, wordly wise beyond her years 

The Stage 

There are marvellous sopranos in Caroline Kennedy and Lynsey Docherty,

London Theatre

There’s a high quality of the singing (special mention Caroline Kennedy as Todd’s apprentice)

British theatre guide

Caroline Kennedy's Tobias and Mrs Oakley is an impressive performance of two halves.

Broadway baby 

Caroline Kennedy was terrific as Tobias – a genuine gamine urchin, all wide eyes and quivering limbs on the surface, but stealthy and stoical beneath.  Her aria was sung with beautiful lightness and clarity, one of the evening’s few moments of stillness and reflection.  

Opera Today 

Caroline Kennedy is an irresistibly funny Papagena.  

The stage - George hall

It was hard to imagine a sunnier Papagena than Caroline Kennedy”

Opera Now ( Martin Dreyer)

... the brief but exquisitely bonkers cameo came from Caroline Kennedy as Papagena

One stop arts ( Paul Kilbey)

Caroline Kennedy as Josephine in Pinafore…stunning in altissimo

Midlands classical music making

He was aided with apt ineptitude by Caroline Kennedy’s goofy Fireball – a cross-between the Artful Dodger and a circus clown. Eager to please, Kennedy shone with feverish
excitement as she peered through her telescope at the advancing Rattlebone or lined up model Crusaders to imitate the beleaguered Croquefer’s diminished
army. The role of Fireball was originally composed for tenor, but Kennedy’s bright, sweet-toned soprano added freshness and air to the macho mix,

Caroline Kennedy’s emerald-frock-coated Prince Alexis delivered ‘his’ sentimental romance on the death of his pet bird with bell-like purity, touching sincerity, not a hint of mockery and just the right amount of mawkishness. After the tomfooleries of Croquefer, Kennedy really showed her dramatic range here using her voice and face most expressively. Her naivecuriosity when faced with the veracity of her femininity – ironically dressed in a green and purple gown with black Doc Martins – was heart-winning.

Opera Today Claire Seymour 

After trilling crazily away as the Baldrick-like squire Fireball at the end of Croquefer, Caroline Kennedy cut a surprisingly sweet and fragile figure as Alexis, the princess raised as a prince in The Isle of Tulipatan. There was just enough vulnerability about Kennedy’s performance — enough of a suggestion of pathos — to lift the whole thing out of two dimensions and make you realise why Rossini called Offenbach ‘the Mozart of the Champs-Élysées’

Roberto Abate is show-stealingly good as Fenton, while Caroline Kennedy makes a vulnerably sweet Nanetta, their scenes together full of fervid adolescent and shy, sly glances which imply real chemistry. Fenton and Nanetta’s duets, brief but beautiful, show us what true love can be – contrasting with Falstaff’s mercenary opportunism. On their own, Abate and Kennedy shine in their own arias: two young singers well worth following.

Operaissima

Caroline Kennedy as the tiny and impish Nannetta sang high notes as if they were second nature to her in an utterly buttery manner

Trend FEM (Mary Grace Nguyen)

Roberto Abate (Fenton) and Caroline Kennedy (Nannetta) both had alluring sweet tone and expansive top notes.”

Seen and Heard International ( Jim Pritchard)

Caroline, aside from being an absolutely delightful person to work with, brings brilliant vocals to the role of the neglected wife, Adriana – her background is largely from the world of opera – as well as lovely comic timing and an overall dignity and emotional balance”

Interview with Mark Giesser of The Boys From Syracuse Culture Calling

Caroline Kennedy has a simply astonishing singing voice

Ian Bowkett, Musical Theatre Review, 2024

Caroline Kennedy is another highlight as Adriana, demonstrating a remarkable singing voice and filling the space with undoubted star power…. a rousing ‘Sing For Your Supper’ with Kennedy’s ‘Falling In Love With Love’ truly mesmerising to witness.

Daz Gale, All That Dazzles

Caroline Kennedy is a stand out singer.

London Pub Theatres

The numbers are performed beautifully, none more so than Caroline Kennedy whose voice soars across the auditorium beautifully.

London Theatre Reviews

Caroline Kennedy performs a searing version of Chopin’s Tristesse, with lyrics and arrangement by Alma Rosé, and it is hard to hear it without tears.

Jewish news

Splendid small scale production [in which]Caroline Kennedy gives strong comic support as Adina’s friend... a real treat.

Jonathan Lennie, Timeout ****

Caroline Kennedy as Adina’s friend deserves special mention for her performance. She has an amazing voice and her solo in act II was a show stealer for me.

Unsa  Chaudri, Backstage Pass

These are proper voices and the singers can act

Nick Kimberley, Evening Standard ****

Caroline Kennedy gives a sparkling comedic performance in the role of Giannetta... heavenly singing

Fiona Lister, Mellowdays London

....Caroline Kennedy, as a sexy Giannetta, a fringe starlet to Adina’s star, who was brilliant in her reluctant revelation of Nemorino’s sudden success

Opera Magazine (Peter Reed)

Such is the energy of the cast, and their attention to both text and music in [the]staging, that the piece comes over with almost reckless gusto... Caroline Kennedy’s lyrical Peep-Bo – [helps] form a mellifluous but lethally giggly trio.

George Hall, The Guardian ••••

The Mikado featuring a cast of nine is minimalist in terms of set, but is quite the contrary in relation to the exuberance on display the very high musical standards and the detailed characterisation...Animated support comes from Ian Beadle’s Pish Tush and Caroline Kennedy’s spirited Peep Bo.

Julia Rank, Exeunt

Caroline Kennedy as Peep-bo is delightfully pert...

Howard Loxton, The British Theatre Guide

Portugal’s The Marriage of Figaro, Bampton Classical Opera, 2010

The young cast were uniformly accomplished... Edmund Connolly (Antonio) and Caroline

Kennedy (his daughter) delivered these minor roles in charming and accomplished fashion.

Claire Seymour, Opera Today

Caroline Kennedy and Rosa French as Decorative Bellezze al bagno enhanced the comic spirit.... and in the ensembles the voices blended into a radiant whole.

Claire Seymour, Opera Today

Caroline kennedy was a delightfully flirtatious Valencienne, prettily sung

Opera Magazine ( Martin Dreyer)

Caroline Kennedy emerged from the tiny chorus to sing arias for the laryngally- stricken Galatea, who mimed her part: the synchronicity and empathy between the two was amazing

Birmingham Post (Christopher Morley)

Caroline Kennedy was a crystalline voiced, witty delight as Miss Wordsworth - her very walk was imbued with her characterisation

Daily Classical Music ( Alice Mc Veigh)