SEEN AND HEARD INTERNATIONAL
​​REVIEW OF 'Die Zauberflöte' at Opera Pa Skaret, July 2019

Emily Kyte's cute Papagena... made the heart beat a little faster.

DALA DEMOKRATEN
REVIEW OF 'Die Zauberflöte' at Opera Pa Skaret, July 2019


Papagena, who first makes an entry in Act 2, is sung by Emily Kyte and if possible she is even more buoyant and inventive than Papageno.  She has a voice that works well both in the dialogue scenes and in the singing, with fine top notes.  She also has an effective voice in her disguise as an old woman.

Opera Magazine
REVIEW OF 'THE CONSUL' AT THE GUILDHALL SCHOOL, NOVEMBER 2017
As the obdurate Secretary, Emily Kyte was superb, her glossy mezzo, suggesting implicit sympathy for those she tetchily forestalls.
 THE GUARDIAN
 REVIEW OF 'THE CONSUL' AT THE GUILDHALL SCHOOL,     NOVEMBER 2017
 Emily Kyte cleverly mixed spikiness and elan as the super-bureaucratic Secretary.

Planet Hugill
REVIEW OF 'Dialogues des carmelites' at the Guildhall School, March 2018
Mère Marie is perhaps the most complex character in the opera, and Emily Kyte really brought out the way Marie was full of strong ideas, often insufficiently suppressed in the face of her need for obedience. Kyte gave us an intense and nervy performance, one full of unsatisfied need.
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SEEN AND HEARD INTERNATIONAL
REVIEW OF 'DIALOGUES DES CARMELITES' at the Guildhall School, March 2018
Perhaps the starring role on this occasion was that of Emily Kyte’s Mother Marie. We were reminded more than once, as much through acting as through vocal means, that not only does the opera have its roots in her telling of the story, but of her especially problematical role in the narrative.

CLASSICAL SOURCE
REVIEW OF 'A DINNER ENGAGEMENT' AT THE GUILDHALL SCHOOL, JUNE 2018
 Emily Kyte shamelessly ramps up class divisions as Mrs Kneebone, a neatly judged riff on Mrs Overall and very well sung, as the Dunmow’s lady-who-does.

Operetta research center
REVIEW OF 'THE QUEEN'S LACE HANDKERCHIEF' AT WILTON'S MUSIC HALL, AUGUST 2017
The King is a ‘breeches role’, here sung by one of the best voices in the company, Emily Kyte, who has a rich mezzo-soprano.

THE SPECTATOR
REVIEW OF 'THE QUEEN's LACE Handkerchief' at Wilton's Music Hall, August 2017
 Opera della Luna has a knack for casting singers who know exactly how seriously to take a drama whose sexiest number is a love song to a truffle pie — performed here with languorous sweetness by Emily Kyte in the trouser role of the King.

THE TIMES 
REVIEW OF 'MUSIC ON THE EDGE OF DESTRUCTION' AT WIGMORE HALL, JANUARY 2017
Ricocheting between a sultry foxtrot and a giddy, ironic waltz, Roman’s Wir reiten auf hölzernen Pferden was delivered with crystalline diction and deadly sexiness by Emily Kyte to beautifully clear accompaniment from the pianist Leo Nicholson.

A YOUNGER THEATRE 
REVIEW OF 'BOYS OF PARADISE' AT EGG LDN, OCTOBER 2016

A particular favourite moment is the mezzo soprano part of ‘Fag Hag’ (Emily Kyte), singing about the troubles faced by a straight women who hangs out exclusively with homosexual men. I didn’t want it to stop.