Caitlin McKechney       mezzo-soprano


"La Perichole" with Tacoma Opera

"As La Périchole herself, Caitlin McKechney was marvelous, a lush mezzo with low notes like pools of water and just the right mix of long-suffering and flirty. ...her drunk scene was a delightful blend of tipsy slurs, physical comedy and fine singing, and her “Why are men so stupid?” aria brought down the house." - Rosemary Ponnekanti, The News Tribune


"Tragedie de Carmen" with Opera Memphis

"The Opera Memphis presentation offers strong performances, particularly mezzo-soprano Caitlin McKechney's Carmen, with captivating vocals and powerful expressions that flash with mischief, anger, joy, confidence and sadness, vividly showing vulnerability and intelligence." - John W. Sparks, The Commercial Appeal

"Madama Butterfly" with Florida Grand Opera

"This includes the richly sung Suzuki of Caitlin McKechney whose memorable contributions to the trio and Flower Duet show a performer of equal caliber to the leads. Suzuki could easily be considered opera’s most noble character. She fully understands what is happening. When Pinkerton’s ship arrives, she temporarily believes that Butterfly’s prayers have worked and caves into her mistress’s fantasy. McKechney’s return to reality is shockingly painful." - Jeff Haller, ConcertoNet.com


"Mezzo-soprano Caitlin McKechney is excellent in the role of Suzuki, Cio's maid and confidante. Her character, an amalgam of Jiminy Cricket, Greek chorus and BFF was performed with moxie and oftentimes gave a humanistic, humorous tone to the narrative as it began to darken in mood." - Abel Folgar, Miami New Times


"No Exit" with Florida Grand Opera / Chicago Opera Vanguard

"As the lesbian Inez who has aided in the murder of her cousin’s husband, the coolly sexy Caitlin McKechney is clearly the show’s star. Her alluring mezzo-soprano timbre, incisive verbal articulation, expressive eyes and catlike movements rivet attention." - Lawrence Budman, ​South Florida Classical Review


"Caitlin McKechney delivers a staggering performance. [...] McKechney was a tough, hipster Inez with a sensual, charismatic presence of feline grace.  The cat-eyed mezzo-soprano proved alluring in her seduction of Estelle and brought impassioned fury to the punishing vocal lines.  McKechney charted Inez's evolution from ironic disinterested observer to vulnerable and ultimately destroyed victim, [...] as affecting in the aria-like moments as in the angry confrontations, spitting out Vores' imprecations, grunts and unintelligible sounds." - Lawrence Johnson, Chicago Classical Review


"As Inez, mezzo-soprano McKechney nearly stole the show. Her dark dusky voice with its vibrant top notes and powerful lower register was given a nearly tailor made part by Vores’ difficult to sing score." - Jack Gardner, Edge Miami


"From the moment she arrives we know she is seething with sensuality with a rich mezzo voice to match. She seamlessly transitioned from a longing hunger for Estelle to vulnerable dejection as she’s mocked by the others and then back to her insidious attempt at lady seduction—brilliantly acted!" - Vindhya Khare, Operagasm 


"...definitely the one to watch." - Michelle F. Solomon, Florida Theater On Stage 


"McKechney almost steals the show as the adulterous woman  with a very dark secret [...] Her monologue in the final third of the piece is incredible. Just her, a camera and, of course, us." - Nate Sykes, ​Shotglass Review


"… a superb young cast, including… powerhouse mezzo Caitlin McKechney as the manipulative lesbian Inez." - Albert Williams, The Chicago Reader


Tisbe in "Cenerentola" with Nashville Opera

“Oh, but there are the mean stepsisters, and what delightfully funny ones they are in the hands of soprano Kristina Bachrach as Clorinda and mezzo-soprano Caitlin McKechney as Tisbe. These two ... are making their Nashville Opera debuts; with their excellent singing and acting the pair make a very favorable impression.” - Evans Donnell, Arts Nash (www.artsnash.com)


Cousin Hebe in "HMS Pinafore" with Opera New Jersey

“Even the obligatory plot resolution with [Sir Joseph’s] marriage to Cousin Hebe (well sung by Caitlin McKechney) was made more believable when she reeled him in with a gentle whipping.  Well, Britain’s upper classes were known to like the rough stuff, right?” - David Patrick Stearns, Inquirer Classical Music Critic (www.philly.com)


“Caitlin McKechney’s deep mezzo-soprano and playful upstaging maneuvers added to a memorable Cousin Hebe.” - Ronnie Reich, The Star-Ledger (www.nj.com)


Carmen with New York Lyric Opera

“I’ll quickly skip to the end: the production was excellent... also excellent [was] Caitlin McKechney as Carmen...” - Stephen J. Dubner, Freakonomics (www.freakonomics.com)


Wife/Mother in "Greek" with Chicago Opera Vanguard

"McKechney has a rich voice and the chutzpah to play it older than she looks." - Melissa Albert, The Chicago Journal


"McKechney was sexy and versatile as Eddy's Wife/Mother - even with the Day-Glo wigs - and other roles." - Lawrence A. Johnson, The Chicago Classical Review