Intermusica Artists' Management



Intermusica represents Kelley O'Connor in Europe

Artist Manager:
Maria Mot

Assistant to Artist Manager:
Steven Gietzen

Other Links:

Kelley O'Connor's website

Kelley O'Connor


Possessing a voice of uncommon allure and musical sophistication far beyond her years, Grammy® Award-winning mezzo-soprano Kelley O'Connor has emerged as one of the most compelling performers of her generation.

Recent highlights include BBC Proms and Edinburgh International Festival debuts; Berio’s Folk Songs with the London Symphony Orchestra at the Berlin Festival; Roussel’s Padmâvatî with the National Symphony Orchestra; Lieberson’s Neruda Songs with the Seattle Symphony, the Royal Scottish National Orchestra and the Berlin Philharmonic, Tonhalle Zürich and Chicago Symphony Orchestras; Mahler’s ‘Resurrection’ Symphony with Gustavo Dudamel, with the Saint Louis Symphony Orchestra, and under Edo de Waart; Britten’s Spring Symphony with the Atlanta Symphony Orchestra; Janáček’s The Cunning Little Vixen with the New York Philharmonic; Bernstein’s ‘Jeremiah’ Symphony on tour with Gustavo Dudamel and the Los Angeles Philharmonic; Hippolyta A Midsummer Night’s Dream for the Lyric Opera of Chicago; and the world premiere of The Gospel According to the Other Mary by John Adams with the Los Angeles Philharmonic.

Conductors with whom Kelley O’Connor has worked include Bernard Haitink, Franz Welser-Möst, Alan Gilbert, Robert Spano, David Robertson, Lorin Maazel, Bernard Labadie, Christoph Eschenbach, Stéphane Denève, James Conlon, Daniel Harding, Iván Fischer and Jiří Bělohlávek. She has performed with the Canadian Opera Company, Cincinnati Opera and Santa Fe Opera, among others, and is particularly associated with the role of Federico García Lorca in Golijov's Ainadamar, which was written for her. She recently made her role debut as Suzuki Madama Butterfly in a new production by Lillian Groag for Boston Lyric Opera. Her discography includes numerous recordings for Deutsche Grammophon and Telarc.

Highlights of the 2013-14 season include Neruda Songs with the Gothenburg Symphony Orchestra; Beethoven’s Ninth Symphony with the New York Philharmonic; Adams’ El Nino with the London Philharmonic Orchestra and Vladimir Jurowski at Royal Festival Hall; an appearance in recital at Carnegie Hall; and Suzuki Madama Butterfly with Cincinnati Opera.

Kelley O’Connor is represented by Intermusica in UK.
January 2014 / 311 words. Not to be altered without permission. Please destroy all previous biographical material.

Opera Repertoire

Erika Vanessa

Ascanio Benvenuto Cellini

Mercédès Carmen

Hippolyta A Midsummer Night's Dream

Lucretia The Rape of Lucretia

Kitchen Boy Rusalka

Lorca Ainadamar

Siébel Faust

Bradamante Alcina

Polinesso Arodante

Teodata Flavio

Sesto Giulio Cesare

Medoro Orlando

Zenobia Radamisto

Eduige Rodelina

Amastre Xerxes

Hansel Hansel und Gretel

Ottone L’incoronazione di Poppea

Minerva Il ritorno d’Ulisse in patria

Annio La Clemenza di Tito

Zerlina Don Giovanni

Third Lady Die Zauberflöte

Nicklausse Les contes d'Hoffmann

Dido Dido and Aeneas

L'Enfant/Squirrel/ Shepherd/Cat L'enfant et les Sortilèges

Tisbe La Cenerentola

Marchesa Melibea Il viaggio a Reims

Orlofsky Die Fledermaus

Olga Eugene Onegin

Pauline The Queen of Spades

Meg Page Falstaff

Emilia Otello

Maddalena Rigoletto

Flosshilde Götterdämmerung

Flower Maiden Parsifal

Flosshilde Das Rheingold

Concert Repertoire

El Niño

Christmas Oratorio


St John Passion

Mass in B minor

St Matthew Passion


Songs from Incidental Music to 'Egmont'

Symphony No.9

Folk Songs

Laborintus II

Les nuits d’été

Symphony No.1, 'Jeremiah'

Alto Rhapsody

Cantata Academica

Spring Symphony

Te Deum

La Demoiselle élue


Moravian Duets

Sea Pictures

El Amor Brujo

Three-Cornered Hat



Neruda Songs

Lieder eines fahrenden Gesellen

Rückert Lieder

Symphony No.2

Symphony No.4


A Midsummer Night’s Dream

Davidde Penitente (Variation of K.427)

Mass in C major, K.317 (Coronation)


Vesperae solennes de confessore, K.339

Stabat Mater

Alexander Nevsky

Les Noces


Requiem Canticles


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“Kelley O'Connor... [whose] dark, low mezzo-soprano and expressive stage presence are those of a riveting singer emerged, not emerging"
Los Angeles Times

Mozart Requiem / Mostly Mozart Festival Orchestra
Cond. Louis Langrée

“Kelley O’Connor, though, brought a gorgeous, dark velvet tone to the mezzo-soprano part, shaping the opening strains of the Recordare with loving care. The few moments in which her caramel voice was paried with Morris Robinson’s dusky growling bass provided the most sumptuous singing of the night.”
Eric C. Simpson, New Criterion, August 2014

Mary Magdalene / Adams The Gospel According to the Other Mary / CD: Deutsche Grammophon
Cond. Gustavo Dudamel, L.A. Philharmonic and L.A. Master Chorale

“Mezzo-soprano Kelley O’Connor is an impactful Magdalene – unruly, extravagantly passionate.”
Anna Picard, BBC Music Magazine, April 2014

“Kelley O'Connor ably negotiates a demanding mezzo part (it dips into alto range). She brings alternating alarm, urgency, confusion, and love to the role of Mary Magdalene in a musical and dramatic triumph.”
Christian Hertzog, LA Weekly, March 2014

Lorca in Osvaldo Golijov Ainadamar / New Zealand Festival
Cond. Miguel Harth-Bedoya Dir. Sara Brodie

“Kelley O'Connor singing the part of Lorca was in the trouser role tradition of the Count in Der Rosenkavalier and Frank in Ben Frost's recent opera of the Wasp Factory. Her singing of “From My window” was an eloquent expression of love, combining a Mozartian sonority with the anguish of a Puccini role, while her singing of “I want to sing among the explosions” set against a backdrop of violence was a haunting evocation of death.”
John Daly-Peoples, National Business Review, March 2014

“Lorca [was] a marvellously sinuous Kelley O'Connor.”
William Dart, New Zealand Herald, March 2014

Colburn Songfest Programme / LA Philharmonic / Walt Disney Concert Hall
“In L.A., we've been able to watch both Rivera and O'Connor blossom from students into I suspect two of the most able and astonishing young singers of their generation. They here expressed both the said and the unsaid that are essential in all loving relationships.”
TMCnet, July 2013

Martha in Adams The Gospel According to the Other Mary / Barbican Centre
Los Angeles Philharmonic / cond. Gustavo Dudamel / dir. Peter Sellars

“Kelley O’Connor… remarkable”
Richard Morrison, The Times, five stars, March 2013

Suzuki in Puccini Madama Butterfly / Citi Performing Arts Center Shubert Theater
Boston Lyric Opera / cond. Andrew Bisantz / dir. Lillian Groag

“...exceptional performance[ by] mezzo-soprano Kelley O'Connor, whose warm-voiced emotional transparency as Suzuki, Butterfly's loyal servant, contrasted with Lee's calculated effects [...]"
Lloyd Schwartz, The Phoenix, November 2012

“Kelley O'Connor, in the role of Suzuki, had [a] full hearty voice... O'Connor made efficient use of her stage time and, especially as the finale approached, asserted herself as a driving dramatic force”.
Melanie O’Neill,, November 2012

“Kelley O’Connor gave an understated performance as Cio-Cio-San’s maid, Suzuki, and the combination of her strong mezzo and Lee’s lyric soprano in the Flower Duet was a highlight of the evening”.
Angelo Mao, Boston Lyric Opera, November 2012

“Kelley O'Connor warmed into her darkly-patinated mezzo-soprano as Suzuki”
Matthew Guerrieri, The Boston Globe, November 2012

“...the singers were impressive... The four leading roles [including Kelley O’Connor’s Suzuki] all had rich, full voices that complemented each other well”.
Drew Robertson, The Tufts Daily, November 2012

Lorca on Golijov Ainadamar
Teatro Real Madrid / cond. Alejo Pérez / dir. Peter Sellars

"The sublime voice of the American mezzo-soprano Kelley O’Connor...”

“Las sublimes voces de la mezzosoprano estadounidense Kelley O’Connor…”
Punta Fina News, July 2012

“Kelley O’Connor’s convincing and successful presentation...”

“tan lograda retórica como Jessica Rivera y Kelley O’Connor…”
Alberto González Lapuente,, July 2012

Adams The Gospel according to the other Mary
Los Angeles Philharmonic / cond. Gustavo Dudamel

“Kelley O’Connor gave a nicely controlled performance as Mary, never taking the extreme expressions over-the-top, while keeping the intensity pressing.”
Timothy Mangan, San Francisco Classical Voice, June 2012

Mahler Symphony No. 2 / Kansas City Symphony
cond. Michael Stern

“Kelley O’Connor (is) fantastic… a miraculous voice… ideally suited to this music.”
Patrick Neas, The Kansas City Star, January 2012

“O’Connor’s voice was dark, warm, and full bodied. With clear diction, she highlighted the movement’s profound lyrics, beautifully blending with the oboe and strings in the first verse.”
Kristin Shafel,, February 2012

Mozart Requiem / The Toronto Symphony Orchestra / Massey Hall
cond. Peter Oundjian

“The strongest (was) mezzo Kelley O’Connor… whom possesses a purity of tone and intonation that made (her) singing a delight.”
Colin Eatock, Globe and Mail, January 2012

Catherine in Honegger Joan of Arc at the Stake (concert performance)
London Symphony Orchestra / cond. Marin Alsop

“Kelley O’Connor gave Catherine a vivid presence. O’Connor’s voice had a strong contralto colour and solidity that was very attractive.”
Peter Reed, ClasicalSource, November 2011

Ursule in Berlioz Beatrice et Benedict / Opera Boston
Cutler Majestic Theatre / cond. Gil Rose / dir. David Kneuss

“The duet by Buck and O’Connor that closes Act I, Nuit paisible et sereine, was rendered with touching tranquillity…”
Keith Powers, The Classical Review, October 2011

Mozart’s Requiem / Mostly Mozart Festival 
Lincoln Center / cond. Louis Langrée

“The performance was graced by strong vocal soloists, including the plush mezzo-soprano Kelley O’Connor.”
Anthony Tommasini, The New York Times, August 2011

Mahler Symphony No .2 / Milwaukee SO 
Marcus Center for the Performing Arts / cond. Edo de Waart

“O’Connor’s big, warm, weighty contralto is just the thing for Mahler, and Robinson’s bright, penetrating soprano complemented O’Connor perfectly.”
Tom Strini, Third Coast Digest, June 2011

Bernstein Symphony No. 1
Los Angeles Philharmonic Orchestra / cond. Gustavo Dudamel / Barbican

“After the Adams Dudamel led the orchestra in Bernstein’s precociously brilliant First Symphony… By the end of mezzo-soprano Kelley O’Connor’s vibrantly tragic rendition of the Lamentations in the final movement, I’d been mesmerised into thinking I’d had a genuinely deep experience.”
Ivan Hewett, The Telegraph, January 2011

“The serious business of “Lamentation” fell to the darkly earthy and intense Kelly O’Connor whose incantations sounded real and heartfelt like they were inventions of the moment.”
Edward Seckerson, The Independent, January 2011

“Kelley O'Connor brought an ideally mournful tone quality to the mezzo part.”
Barry Millington, Evening Standard, January 2011

“Bernstein’s fortissimos came across with admirable lucidity, while the pianissimos were genuinely soft, giving the final “Lamentation”, exquisitely sung by Kelley O’Connor, the intimacy and depth it deserved.”
Andrew Clark, The Times, January 2011

"For Bernstein’s Symphony No. 1 (“Jeremiah”), mezzo-soprano Kelley O’Connor sounded radiant."
Vivien Schweitzer, Register Guard, January 2011

Beethoven Symphony No. 9
Orchestra of St Luke’s at Carnegie Hall / cond. Sir Roger Norrington

“The vocal soloists — the soprano Jessica Rivera, the mezzo-soprano Kelley O’Connor, the tenor Gordon Gietz (a last-minute fill-in for Eric Cutler) and the bass-baritone Wayne Tigges — were stylish and radiant”
Steve Smith, New York Times, February 2010

Peter Lieberson Neruda Songs
Colorado Symphony Orchestra / cond. Jeffrey Kahane

“Every so often, a singular singer comes along who can handle traditional opera but is better suited to art song, contemporary music and unconventional works of whatever kind.

One such artist is mezzo-soprano Kelley O'Connor, who has the potential to be one of the great singers of our time, as she demonstrated so convincingly Friday evening with the Colorado Symphony.

With singing that managed to be at once seductive and haunting, O'Connor was equal to this smoldering music in every way. She possesses an amazing, dark-hued lower register but can agilely soar into her upper range as needed.

Perhaps most important, she trusts the innate power of these songs and never pushes too hard. Instead, it is always nuanced control, as in her repetitions of 'muriendo' (dying) at the end of the third song, each minutely yet significantly and expressively different.

This was the kind of transporting, transformative singing that is deeply moving, life-affirming and all too rare.”
Kyle MacMillan, Denver Post, January 2010

Mahler Symphony No.3
“And then there is Kelley O'Connor. The mezzo-soprano, who made her mark at the CMF last season in her stunning turn as Federico Garcia Lorca in the opera "Ainadamar," possesses a priceless instrument in her throat. Her almost otherworldly sound is ideal for the haunting setting of Friedrich Nietzsche's "Midnight Song" in the fourth movement, as well as the darker central episode of the choral fifth movement. She has a resonant, deep tone, highly appropriate for the text, which repeats the German word "tief" ( "deep" ) frequently.”
Kelly Dean Hansen, The Daily Camera, August 2008

Peter Lieberson Neruda Songs
“If O’Connor didn’t achieve her predecessor’s inwardness (who could?), her fresh, dark-hued mezzo was a pleasure to hear. At the conclusion of the piece, the composer himself took the stage, clearly moved, to clasp the mezzo’s hands in thanks.”
Fred Cohn, Opera News, August 2008

“…Kelley O'Connor's entrancing delivery of the collection of love poems to which Lieberson composed a lush musical setting for his late wife, singer Lorraine Hunt Lieberson. Like Hunt Lieberson, O'Connor's mezzo-soprano voice is warm and soulful. The 28-year-old Californian's alluring stage presence and darkly timbered presentation of Pablo Neruda's romantic prose pervaded Aspen's Benedict Music Tent on Friday in one of the summer's most memorable, transfixing artistic experiences…O'Connor's carefully sculpted phrasings and subtle, nuanced inflections blended immaculately with the well-modulated washes of sound produced by the orchestra.”
Sabine Kortals, The Denver Post, July 2008

“She [Kelly O’Connor] has the visceral glimmer, excellent Spanish, and technique and tone to draw out the songs’ surreal languor.”
Justin Davidson, New York Magazine, May 2008

“Ms. O’Connor, a statuesque Californian, made much of the Spanish-language settings. She caught their tone of weary, below-the-equator languor, crooning held notes or attacking consonants with insinuating little slurs. She has a fine, well-modulated voice that travels easily in big spaces. The ability to hold her audience captive during the near-whispers that end the concluding Sonnet XCII (“My love, if I die and you don’t”) had more to do with personality than with power.”
Bernard Holland, The New York Times, May 2008

“O'Connor invested the songs with a luster, sensitivity and grace of her own.”
John von Rhein, Chicago Tribune, May 2008

“Kelley O'Connor was Lieberson's own choice as his wife's successor in the work, and she brought a careful intelligence and Iberian flavor to the five settings of the Spanish writer's love poems.”
Andrew Patner, Chicago Sun Times, May 2008

Haydn Mass in Times of War
“The standout, though, was mezzo-soprano Kelley O'Connor, whose Symphony debut was marked by dark, lustrous vocal tone and an arresting command of melodic phrase. Her few moments in the spotlight - particularly the opening of the "Sanctus" - left a listener wanting more.”
Joshua Kosman, San Francisco Chronicle, April 2008

Golijov Ainadamar
“Upshaw was the big draw...but it was Kelley O'Connor's Lorca who gave us a thrill. A Russian bass wouldn't sniff at this mezzo-soprano's lower range, and the poet's passion and allure shone from her features.”
Geoff Brown, Times, April 2008

“Many a mezzo-soprano initially draws public attention by donning a man’s trousers on the operatic stage. For Kelley O’Connor, portraying the Spanish poet and playwright Federico García Lorca in Osvaldo Golijov’s bracing ‘Ainadamar’ kick-started what promises to be a major career. Her smoky sound and riveting stage presence made an indelible impact. … Ms. O’Connor’s bright smile finally found its way into her voice during a bouncy ‘Fêtes galantes,’ one of four delectable songs by Reynaldo Hahn. She invested his ‘Infidélité’ with an anguish made more gripping by aching understatement and stillness. In four songs from Hugo Wolf’s ‘Spanisches Liederbuch,’ Ms. O’Connor was by turns flirty, tender and acidic.”
Steve Smith, New York Times, January 2008

“Kelley O'Connor has become a star through her portrayals of Lorca, a fully believable characterization despite the obvious gender thing. She can dive way below the contralto range with no loss of focus, all the while delivering a vital characterization that injects a much-needed humanity into the role. Her return as a ghostly presence in the profound final moments was exquisitely handled.”
Marc Shulgold, Rocky Mountain News, July 2007

“She has an unexpectedly deep, entrancing voice, tinged with a sense of timelessness and exoticism.”
Kyle MacMillan, Denver Post, July 2007

“We were prepared to be thrilled by soprano Dawn Upshaw during the Ravinia Festival's presentation June 14 of Osvaldo Golijov's opera ‘Ainadamar’ or ‘Fountain of Tears,’ which told the story of the execution of Spanish poet Federico Garcia Lorca by Spanish fascists in the 1930s. And we were. The big surprise, however, in the finely-honed performance by the Atlanta Symphony Orchestra and Chorus led by Robert Spano, was mezzo-soprano Kelley O'Connor, who bounded on the stage in the trouser role of Lorca and held us spellbound. She exuded energy and verve, becoming the embodiment of the reckless young poet. The California native, with her strong, mellow voice, created the role in the world premiere at Tanglewood and later performed it with the Los Angeles Philharmonic in performances conducted by Miguel Harth-Bedoya at Walt Disney Hall. In addition to appearing at Ravinia, she sang the role at the Ojai Festival in California, known for its embrace of new music. Her voice is on the premiere recording by Deutsche Grammophon. Very impressive for a mezzo only in her late 20s. Let's hope that Ravinia has her back very soon.”
Dorothy Andries, Evanston Review, December 2006

“The performance had splendid moments, especially when mezzo-soprano Kelley O'Connor was imbuing her arias with timbral warmth and expressive allure.”
Donald Rosenberg, Cleveland Plain Dealer, December 2006

“O'Connor's Lorca was a striking figure, charismatic and full of restless life. Her sumptuous dark mezzo captured Lorca's mix of profound imagination and danger-courting youth.”
Wynne Delacoma, Chicago Sun Times, June 2006

“The star of the evening was mezzo-soprano Kelley O'Connor. The 25-year old artist was sensational. She has an expressive velvet voice, mesmerizing particularly in the lower range, a most dignified stage presence, and deep musicality. I won't be surprised if her career goes far.”
Ilan Peleg, The Allentown Morning Call, April 2006

“Even better, Kelley O’Connor sang straight into the heart of Lorca’s music with her hauntingly husky mezzo-soprano.”
Peter G. Davis, New York, February 2006

“Kelley O'Connor sings with haunting colorations as an androgynous Lorca…”
Richard Dyer, The Boston Globe, January 2006

“It was an inexplicably powerful idea to make García Lorca a trouser role, here sung by the mezzo-soprano Kelley O'Conner, who gives a vocally impassioned and daring portrayal.”
Anthony Tommasini, The New York Times, January 2006

“A more inward character, Lorca was disarmingly played by rich-voiced mezzo-soprano Kelley O’Connor, wearing a man’s suit and with her hair slicked back. Whether smiling slyly in a flirting duet with Upshaw or shedding calm, quiet tears at the end of a gun, she portrayed a real man.”
Bradley Bambarger, The Star-Ledger, January 2006

“…Kelley O’Connor…has a smoky instrument and an affinity for the stage.”
Jay Nordlinger, The New York Sun, January 2006

“Audiences are exuberant about Kelley O’Connor who had created Lorca in Osvaldo Golijov’s Ainadamar at Tanglewood in 2003…(she) was radiant in the role in the expanded version of the work premiered at the Santa Fe Opera in July. Her rich mezzo brought wondrous depth to Lorca and she wore his trousers without a trace of mannerism. O’Connor is now slated for Meg Page opposite Thomas Quasthoff and Simon Keenlyside with the Cleveland Orchestra in a concert Falstaff that will go to Carnegie Hall and the Lucerne Festival.”
Opera Now, November/December 2005

“As Lorca, Kelley O'Connor's rich, velvety mezzo extended down into a gender-neutral contralto range. A young singer, she seems assured a major career.”
Pierre Ruhe, The Atlanta Journal-Constitution, November 2005

“…the poet Lorca was sung by a woman, Kelley O’Connor, who aptly invested the gentle figure of the poet with a bewitching androgyny.”
Simon Williams, Opera News, November 2005

“García Lorca, sung by mezzo-soprano Kelley O'Connor, is musically seductive, palpably charismatic, and clearly a force of intoxicating power on the characters around him. From his arrival to his death, he has the audience's sympathy, as a young man not only lost in his artistic dreams, but able to draw those around him into the mesmerizing labyrinth as well. The vocal part is written for a woman who has a low, throaty, androgynous voice, and O'Connor is well suited for the part. She makes a strangely sexy yet sexless sound, the kind of sound that made one wonder if it was really coming from a woman's mouth. Yet in later scenes she was capable of almost Straussian orgies of feminine sounds.”
Philip Kennicott, The Washington Post, August 15, 2005

“Lorca, a ‘pants’ role, was richly sung by mezzo Kelley O'Connor, a member of Santa Fe's apprentice program.” Janelle Gelfand, The Cincinnati Enquirer, August 2005
“…mezzo Kelley O'Connor had a substantive lower register, and, costumed in a powder-blue man's suit, she actually looks a bit like a thinner-faced García Lorca. Opera is full of ‘trousers roles’ for women, of course, and with artful singing from Ms. O'Connor this one is surprisingly persuasive.”
Scott Cantrell, The Dallas Morning News, August 2005

“Kelley O’Connor, who sang Lorca as one of the student performances in Tanglewood, sang Lorca again. She is now an apprentice singer at Santa Fe Opera, but this performance gives notice that her apprenticeship is over. Her dark, low mezzo-soprano and expressive stage presence are those of a riveting singer emerged, not emerging.”
Mark Swed, Los Angeles Times, August 2005

“Kelley O’Connor, reprising her role of Lorca, gave us a man and artist to weep for, singing with molten-lava lower tones. Her terror in the execution scene was pitiable, her affection for Xirgu strong enough to feel.”
Craig Smith, Free New Mexican, August 2005

Bernstein Symphony No.1 Jeremiah
“Mezzo-soprano Kelley O'Connor sang the ‘Lamentation’ [from Bernstein’s ‘Jeremiah’ Symphony] with haunting duskiness and piercing intensity…”
Donald Rosenberg, The Cleveland Plain Dealer, January 2007

Ravel L'Enfant et les sortilèges
“Also impressive was another mezzo, Kelley O'Connor, who displayed her dark, smoky, and beautiful instrument. She sings super-smoothly with that instrument, too. With every appearance she makes, we see that this is a singer to be reckoned with.”
Jay Nordlinger, New York Sun, October 2006

Verdi Falstaff
“Kelley O’Connor made more of Meg Page than is sometimes the case, her colorful voice allowing the nuances of the letter-reading to come through quite clearly.”
Alan Montgomery, Opera News, August 2006

“Kelley O'Connor was an enchanting Meg Page with a dusky mezzo timbre.”
Donald Rosenberg, The Cleveland Plain Dealer, June 2006

“I hope we'll keep hearing from Kelley O'Connor, whose gleaming mezzo-soprano and laughing charm made Meg Page a no-worries accomplice.”
Elaine Guregian, The Akron Beacon Journal, June 2006

Stravinsky Requiem Canticles
“Mezzo-soprano Kelley O'Connor brought a rich vocal quality to her solo.”
Wilma Salisbury, The Cleveland Plain Dealer, October 2005

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