" ...with attractive vivaciousness and urgent feeling"
OPERA TODAY
Amor in Gluck's Orpheus ed Eurydike
Vorarlberger Landestheater, February 2017

“Sorpano Keri Fuge (Cupid) sang so movingly that Wednesday evening premiere’s audience raved and graciously showered the performer with Bravos!“
NEUE Vorarlberger Tageszeitung

“British-born Keri Fuge, brings aside from all technical requirements a certain merriment which completes the production.”
Vorarlberger Nachrichten
 
“British-born Keri Fuge as Cupid set the show in motion with her crystal clear tones. With a large paint brush and bucket in her quiver instead of arrows, she in a symbol not only of love but also for creativity.”
Schwäbische Zeitung
 
“ …and Cupid (Soprano Keri Fuge), whose high voice deeply touched the soul, completed the soloist trio.”
APA / vol.at /tt.com /Salzburg.com
 
“ Love plays a role as Cupid, embodied by a young lady (Keri Fuge) who sings a wonderful Aria and who brings color in an otherwise black and white production. Director Alexander Kubelka gives this cupid an oversized paint brush instead of the usual arrows in her quiver, with which she begins the piece and gives several music cues.”
Kronen Zeitung
 
“ …and Keri Fuge, the light-footed British Soprano, as the impish god Cupid acts in this production as a welcome dash of color.”
Heimat (Vorarlberger Nachrichten)
 
“ -Cupid (Keri Fuge) assists Orpheus by painting his eyes so that he is able to follow the gods’ commands and not acknowledge Eurydice with even a glance.
-Finally, Cupid, played by English Soprano Keri Fuge, is a sure-footed, impish figure who acts as a living Deus ex Machina in ultimately brings the couple together and, with her wide paintbrush and a few tricks up her sleeve, seems to embody the manuscript with which Alexander Kubelka directs here.”
KULTUR-Zeitschrift
Poppea in Agrippina, Brisbane Baroque

“As the one true loving couple in an otherwise iniquitous cesspit of sexual and power-crazed lust, countertenor Carlo Vistoli and English soprano Keri Fuge form a powerhouse central duo. You almost believe their romantic connection”
MARTIN BUZACOTT. THE AUSTRALIAN, APRIL 11, 2016

“The sexual firecracker and wannabe empress Poppea is played with great style by British soprano Keri Fuge. Her ten arias grow in breadth and confidence as the night goes on, and she’s undaunted by either having to sing while playing the dominatrix or rolling off of a bed in the middle of a bit of rumpy-pumpy mid aria. She sparkles in glittering numbers like Se giunge un dispetto and the matching Bel piacere e godere, while her long sequence of arias and duets with Ottone in Act II are rightly at the musical heart of the opera.”
LIMELIGHT MAGAZINE by Clive Paget on April 9, 2016
“Keri Fuge's savvy and seductive Poppea, her bright soprano glistening more and more as the plot progressed. Together, Vistoli and Fuge keep love burning in sight of the debauchery, climaxing in Act III's "Pur ch'io ti stringa al sen" (Ottone) followed by Bel piacere e godere fido amor" (Poppea), to which the pair brought great spellbinding pathos.” 
Paul Selar, Operachaser, April 8, 2016
Cupid in Orpheus, Royal Opera House

"Keri Fuge's tinker of a Cupid is an especial delight, her every appearance signalled by an improbable pair of white wings ('I wear them for decoration')."
Mark Valencia, WHAT’S ON STAGE, October 2015

"...the duplicitous Cupid — (sung with attractive vivaciousness and urgent feeling by Keri Fuge)"
Claire Seymour, Opera Today, November 2015

​"Another excellent portrayal, both vocally and in acting terms was Keri Fuge as Cupid, with her endless winding-up of Sky Ingram’s seductive Venus."
Andrew Benson Wilson, Early Music Reviews, October 2015

"..it was a chance to hear the next generation of voices. Between Louise Alder, Siobhan Stagg, Keri Fuge and Lauren Fagan it’s a future with no shortage of superb sopranos."
 Alexandra Coghlan, THE SPECTATOR, November 2015
A Midsummer Night's Dream CD recording by Chandos, Edward Gardner and CBSO.
 
“the ‘Spotted Snakes’ are sung in English, and with splendid clarity” 
Peter Quantrill, GRAMOPHONE
Past Reviews

“Keri Fuge sang ... with such silvery fire and upper-register strength that you were left almost cursing Puccini for not having given her character more arias to play with.”
Charlotte Gardner, The Arts Desk, 28 July 2011

"Keri Fuge ... sang with dramatic force and vocal splendour.​"
Paul Guest, Ceasefire Magazine, 28 July 2011