“……a real alto possessed of a lovely low range….”
-San Francisco Classical Voice Magazine

Reviews

Ms. Dubenion-Smith sang with a remarkably smooth register, especially in the aria “Wie furchstam wankten meine Schritte” of Bach’s Cantata 33 — an aria loaded with octave skips. Conceived more instrumentally than vocally, Bach’s arias can be difficult for mezzos because of range and register, but not for this mezzo. Ms. Dubenion-Smith handled the tough intervals and figures with a voice as smooth as silk and her Cantata 33 aria was particularly gracefully accompanied by violinist Vita Wallace and Daniel Swenberg playing theorbo.

-Nancy Plum, Town Topics, February 2014

Kristen Dubenion-Smith, mezzo-soprano, brought a deep sense of isolation to the re-imagined texts from Eberhardt’s journals with her clear tone and dark color.

-Megan Ihnen, The Glass, March 2013

In the solo aria “Meine Seele” sung by mezzo Kristen Dubenion-Smith, the listener basked in the luxuriant richness of her lower register, while marveling at the facility of her upper tessitura. Her ornaments were well placed throughout and never detracted from the essence of the solo line. As she declared “Meine Seele” or “my soul,” the depth of her conviction and connection to the music came through.

-Patrick D. McCoy, Washington Life Magazine, October 2012

Rottsolk and plush-voiced mezzo Kristen Dubenion-Smith, as Ino, blended gorgeously in “Prepare then, ye immortal choir.”

-Tim Smith, The Baltimore Sun, April 2012

Kristen Dubenion-Smith sang a moving “He was Despised” that so effectively transported the listener to the foot of the cross. Her compelling rendering was a reminder for many that He was born to die.

-Patrick McCoy, D.C. Performing Arts Examiner, Dec 2011

A highlight of the concert included Elizabeth Merrill, soprano and Kristen Dubenion-Smith, alto who blended splendidly as two plucked stringed instruments called theorboes provided accomaniment in Chiara Cozzolani’s “O Dulcis Jesu.”

-Mark Beachy, MD Theater Guide, Jan 2011

Dubenion-Smith sang with an attractive mezzo-soprano in her one aria, In deine Hände (In your hands), and her expressive scalewise passages were right on-pitch.

David Abrams, BLOG.CNYCAFEMOMUS.COM, Sep 2010


Dubenion-Smith, a real alto possessed of a lovely low range, sang bass, sometimes transposed and sometimes at pitch.

Anna Carol Dudley, San Francisco Classical Voice Magazine, Dec 2009


Sleep, my most beloved,” sung with sweet clarity by alto Kristen Dubenion-Smith and enhanced by oboe’s d’amore and oboes da caccia, was particularly lovely.

Jane Vranish, Pittsburgh Post-Gazette, Dec 2007


Dubenion-Smith was yet another strong soloist, with a warm alto sound and sure feeling for line and the way it illuminates words.

-Mark Kanny, Pittsburgh Tribune-Review, Dec 2007


The orchestra was drawn from leading period-instrument performers from around the United States, including concertmaster Julie Andrijeski. Her solo with the admirable alto Kristen Dubenion-Smith in an aria in the third cantata was richly soulful and technically admirable.

….A mezzo-soprano with a lilting voice…”

-Rebecca Corbett, New York Times, August, 2007


If we throw in mezzo-soprano Kristen Dubenion-Smith (Hecuba in La Didone) as the dancing bear, we get the full five-part chorus that Handel used.  The bear was funny in her rotund costume, whiskers and glasses.

Charles T. Downey, Ionarts, Jan 2007


Kristen Dubenion-Smith had fine moments – as Hecuba, Queen of Troy.

Charles T. Downey, Ionarts, June 2006


Dubenion-Smith has a fluid but precise grasp of Latin diction and a keen sense of dynamic shading, and her performance had a power and authority that – paradoxically – seemed just right for her part as Humility.

James Stevenson, Radar Review, March 2005