IN THE PRESS

“The title role [Carmen] is sung by mezzo Beste Kalender and she smolders. Every body-movement and stance reflects a seething sensuality, even her castanets are orchestral in effect..”

Terry Gaisin, Ontario Arts Review, Brott Opera Carmen

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“Playing la Carmencita this time around is rising-star mezzo-soprano Beste Kalender. Beste stepped into the limelight last season when she sang this same role from the pit in a production for Calgary Opera when their lead took ill. She’s been singing it a lot since and you can tell. The voice is a perfect match for the role, creamy and dark with an agility that’s exciting to witness…”

Greg Finney, Schmopera

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“I was immediately struck by the warmth, depth, and richness of her sound and by an aural radiance that never faded.. She appeared in absolute control..”

Susan Elliot, Musical America

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“Ms. Kalender impressed with her superb control of dynamics and her total immersion in the text… Ms. Kalender’s style is one of generous dramatic interpretation.”

Meche Kroop, Voce di Meche

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“…E tra le figure di contorno, non si è mai vista una governante di Gilda tanto cinica, avida, schiettamente, sgradevole come quella tratteggiata qui da Beste Kalender.”
Marco Beghelli, Il resto del Carlino

“L’orchestra, diretta da Renato Palumbo, ha accompagnato sul palcoscenico un cast di prim’ordine: il baritono Marco Caria è Rigoletto, il tenore Celso Albelo nei panni del Duca, il soprano Irina Lungu è Gilda e Beste Kalender la governante.”
Il resto del Carlino, on Beste as Giovanna in Rigoletto by Teatro Comunale di Bologna, Italy,

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“Beste Kalender’s rich tone and slightly exotic English really made Bianca into a rounded character.”

John Gilks, John’s Opera Ramblings on Beste as Bianca in The Rape of Lucretia

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“Beste Kalender was superb in her role of Lucretia’s wise nurse, Bianca…”

David Richards, Toronto Concert Reviews

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“As Lucretia’s nurse, Bianca, and her maid Lucia, mezzo-soprano Beste Kalender and soprano Ellen McAteer (respectively) gave probably my favorite singing of the night… these two sounded like they’ve been making music together their whole life. Kalender’s rich, active, smooth mezzo and McAteer’s twinkling soprano were a match made in heaven.”

Greg Finney, Schmopera

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“Beste Kalender was an immediately captivating presence in the title role (La Cenerentola). With a voice that is both fluid and expressive, Kalender seems particularly well-suited for Rossini’s characteristic mix of soaring melodic lines and rapid patter.”

Edmond Johnson, Opera News

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“Mezzo-soprano Beste Kalender nailed the role of Cinderella, her richly resonant instrument and spectacular range projected easily into the cavernous Granada Theatre. Kalender’s refreshing vision was of a strong Cinderella, confident and self-reliant despite her unhappy circumstances…”

Daniel Kepl, CASA Magazine

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Calgary Opera’s opening night performance of Carmen:. “.. On one hours’ notice, mezzo-soprano Beste Kalender, originally scheduled to sing the role of Mercedes, learned that she would have to sing the title role. This she did, and with remarkable success…”

Kenneth Delong, Calgary Herald

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“Beste Kalender, un mezzo «ensoleillé» émouvant et de grande lignée. Elle a déjà donné des spectacles et des récitals en Turquie, son pays d’origine et au Canada, qui l’a adoptée. Elle rejoindra le programme de développement pour les artistes émergents avec l’Opéra de Calgary pour la saison 2014-2015.”

Bernard Georges, La Marseillaise

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“En effet, la brune piquante, Beste Kalender, dans la Séguédille de Carmen, promène avec charme et malice sa voix chaude aux graves somptueux. Elle ravit ensuite l’auditoire dans deux airs de Mozart : La Clémence de Tito et Le Nozze de Figaro, ainsi que dans deux duos…: « Aprite, presto, aprite ! » des Nozze, puis celui « des fleurs » de Lakmé où les deux voix féminines se fondent délicieusement…”

Francis Pabst, Musiques en Provence

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“Beste Kalender as the male fox was excellent with a really attractive mezzo voice and, again, very good acting.”

John Gilks, John’s Opera Ramblings

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“The finest performance came from Beste Kalender as Zerlina. She sang with warmth and had just the right mixture of naiveté, spontaneity and artfulness.”

Hans de Groot, The Whole Note

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“It comes as no surprise that Beste Kalender, the fully-realized Zerlina, already has performing experience in Canada and her home country, Turkey.”

Michael Johnson, ConcertoNet.com

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“Mezzo soprano Beste Kalender was outstanding in her interpretation of the seductive Carmen. Helped by her exotic brunette beauty, she projected a natural Carmen, supported by her fluid mezzo and excellent intonation.”

Ute Davis, National Capital Opera Society

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