~Prince GreminEugene Onegin, TchaikovskyNorth Carolina Opera
~Young Emile Griffith   Champion, Blanchard                        Opera Parallèle
~Il Commendatore       Don Giovanni, Mozart                        Opera Tampa
  Leporello (cover)
~Mephistopheles         Faust, Gounod                                   Opéra de Lausanne 
~Zuniga                              Carmen, Bizet                                     PORTopera
~Mephistopheles         Faust, Gounod                                   Ópera de Oviedo
~Young Emile Griffith(cover)   Champion, BlanchardWashington National Opera
~Sam Bankhead          Summer King, Sonenberg(World Premiere)  Pittsburgh Opera
~Prince Gremin Eugene Onegin, Tchaikovsky  Michigan Opera Theater
~San BankheadSummer King, Sonenberg      Michigan Opera Theater

"...But it doesn't matter since these devices are only manipulations of a ubiquitous Mephisto.  The true hero of the show, it is him. By his imposing stage presence, his dark voice and a remarkable economy of means, Kenneth Kellogg composed a Mephisto with charisma...  Mephisto here, pulled the strings of a... puppet: "Here, doctor, everything submits to me."
-Tribune de Geneve, Faust at Opera de Lausanne

"The new Faust in Lausanne has, as usual, a fine cast of voices, crowned by a colossal Mephisto - American bass Kenneth Kellogg..."
-Le Courrie, Faust at Opera de Lausanne

"Kenneth Kellogg, a 6-foot 5-inch bass baritone who has sung in starring roles at Washington Opera, does most of the heavy expositional lifting as the young Griffith. With appropriate panache, and a chiseled boxer’s body, he makes a believable character, with a voice than can handle both the operatic and the jazz portions." -SeenandHeard International, Champion at Opera Parallele and SFJazz

"The tall and distinguished Kenneth Kellogg made an eloquent Prince Gremin, his deep bass voice resounding throughout Meymandi Hall as if wrapped in velvet..." -Josmarlopes, Eugene Onegin at Opera North Carolina

"Bass Kenneth Kellogg...has already demonstrated his considerable talent. His Sarastro in this production was regal and commanding as befits this role. Mr. Kellogg’s projection of this key but mysterious character was further enhanced by the uncommon brilliance of his instrument, which still achieved perfect clarity even when traversing the lowest part of this singer’s considerable range, which is among the greatest of challenges for the bass voice in any opera. "-Washington Times, Magic Flute at Virginia Opera