Kravitz1

http://www.davidkravitz.com/

Baritone David Kravitz is increasingly in demand on operatic and concert stages. Critics have hailed his “large, multi-layered” and “sumptuously flexible” voice, his “power and eloquence,” his “deeply considered acting,” his “drop-dead musicianship,” and his “deep understanding of the text.”

David Kravitz’s 2015-2016 season includes his role debut of Scarpia in Tosca with Skylight Opera, and performances of Handel’s Messiah wth the Virginia Symphony. Last season included a company debut with Palm Beach Opera, as the Rabbi in the world premiere of Enemies, A Love Story, a return to Boston Lyric Opera as the Baron Duphol in La Traviata, as well as his role debut as Don Magnifico in La cenerentola with Opera Saratoga. Continuing his commitment to new music, he also appeared in the workshop and acclaimed world premiere of Matthew Aucoin’s Crossing: A New American Opera with American Repertory Theater.

The 2013-2014 season brought a company debut with Dallas Opera to reprise the role of United Nations in Death and the Powers, the role of Frederik in Sondheim’s A Little Night Music with Emmanuel Music, as well as performances with Boston Lyric Opera as both the Speaker in Die Zauberflöte and Marullo in Rigoletto as well as La Rocca in Un giorno di Regno with Odyssey Opera in their inaugural season. His concert performances included Mohammed Fairouz’s Symphony No. 3 (Poems and Prayers) with the UCLA Philharmonic, and A Sea Symphony, with the Pioneer Valley Symphony Orchestra. He closed the season by debuting the role of Tevye in Fiddler on the Roof with Ash Lawn Opera.

The baritone’s 2012-2013 calendar included appearances with the Boston Symphony Orchestra, for Le rossignol under the baton of Charles Dutoit; The English Concert, as Farasmane inRadamisto at Carnegie HallBoston Pops, for holiday concerts conducted by Keith Lockhart; Boston Lyric Opera, for Abraham in the North American premiere of MacMillan’s Clemency; the Lyric Opera of Kansas City, for his debut, as Poo-Bah in The MikadoBoston Modern Orchestra Project, for King Fisher in a concert performance of The Midsummer MarriageChautauqua Opera, for Captain Balstrode in Peter Grimes, and the Tanglewood Music Festival, for Nick in Emmanuel Music’s production of Harbison’s The Great Gatsby. Additionally, Mr. Kravitz created the role of Davis Miller in the world premiere of D.J. Sparr’s Approaching Ali at Washington National Opera.

In autumn of 2011, Mr. Kravitz made his debut with Florentine Opera as Ping in Turandot, and appeared with The Washington Chorus, for Wachner’s Come My Dark Eyed One and Mozart’s Mass in C Minor. He continued the season as Melchior in Amahl and the Night Visitors with The Little Orchestra Society at Avery Fisher Hall; Dr. Falke in Die Fledermaus with Opera Memphis; Lord Salt in The Golden Ticket with Atlanta Opera; and Cosimo in John Musto’s The Inspector with Boston Lyric Opera.

In the 2010-2011 season, Mr. Kravitz sang the Businessman in Intermezzo for his debut at New York City Opera, and appeared as the United Nations Delegate in the world premiere of Tod Machover’s Death and the Powers at Opéra de Monte-Carlo, with subsequent performances of the work that season at Chicago Opera Theater and in Boston in a production by the American Repertory Theater. He also returned to Opera Boston as the Provost Marshall and Gold Merchant in Hindemith’s rarely performed Cardillac, sang Handel’s Messiah for his debut with the Baltimore Symphony Orchestra, covered Matthias Goerne in Britten’s War Requiem with the Saito Kinen Festival under Seiji Ozawa, performed Pilate in Bach’s St. John Passion with the Boston Symphony led by Masaaki Suzuki, sang his first Verdi Requiem, and appeared as Nick Shadow in The Rake’s Progress with Emmanuel Music. He closed the season as Taddeo in L’italiana in Algeri with Boston Midsummer Opera.

In the summer of 2009, David Kravitz joined Glimmerglass Opera for Dr. Grenvil in La traviata and Mr. Kofner in The Consul. In the fall of 2009, he sang his first Germont in La traviata with thePioneer Valley Symphony, and later joined the Boston Symphony Orchestra for Elijah (solo bass, covering Elijah) and MacMillan’s St. John Passion (covering Christus), Opera Boston for Baron Grog in La Grande-Duchesse de Gérolstein, and traveled to Opera Theatre of Saint Louisfor Lord Salt in the world premiere of The Golden Ticket. He also sang Raphael in Die Schöpfungwith Emmanuel Music under John Harbison and Cimarosa’s Il maestro di cappella with Boston Baroque under Martin Pearlman (a “tour de force,” declared the Boston Globe).

In the 2008-2009 season, Mr. Kravitz sang Prince Ottokar in Der Freischütz and Krusina in The Bartered Bride with Opera Boston, and joined the Philadelphia Orchestra for Handel’s Messiah. He also garnered rave reviews for his “resolute power and total connection” (Opera News) in Bach’sSt. Matthew Passion with the Boston Symphony Orchestra under Bernard Haitink.

The 2007-2008 season included returns to the Boston Symphony Orchestra under Maestro Levine for Berlioz’s Les Troyens, to Opera Boston for Handel’s Semele, to Opera Theatre of St. Louisfor Martin y Soler’s Una Cosa Rara, and to Boston Baroque for Purcell’s King Arthur. Mr. Kravitz joined the Boston Symphony Orchestra for Bach’s St. Matthew Passion under Bernard Haitink; he performed Handel’s Messiah in Carnegie Hall; he joined the Lincoln (NE) Symphony under Edward Polochick for Bach’s St. Matthew Passion; and he returned to Emmanuel Music for Bach’s B Minor Mass, to the New England Philharmonic for Mahler’s Lieder eines fahrenden Gesellen, and to the Cantata Singers for Carmina Burana and for the Boston premieres of Kurt Weill’s Flight of Lindbergh and Charles Fussell’s High Bridge.

The 2006-2007 season included Ko-Ko in The Mikado with Opera Theatre of St. Louis, the title role in Wozzeck with the New England Philharmonic, and performances under the baton of James Levine in the Boston Symphony Orchestra’s production of Schoenberg’s Moses und Aron. Mr. Kravitz joined the roster of New York City Opera in the 2005-2006 season, responsible for the leading role of Olivier in Strauss’s Capriccio; his other opera roles include Leporello and the title role in Don Giovanni, Figaro in The Barber of Seville, Count Almaviva in The Marriage of Figaro, Papageno in The Magic Flute, Don Alfonso in Così fan tutte, and Captain Corcoran in HMS Pinafore.

Mr. Kravitz’s commitment to new music has led to his presentation of world or regional premieres of numerous contemporary works. Critics hailed his performance of the leading role of Leontes in John Harbison’s Winter’s Tale with Boston Modern Orchestra Project as “brilliantly sung” and “a personal triumph.” New music engagements in 2010-2011 included Dominick Argento’s song cycleThe Andrée Expedition, newly-commissioned songs by Andy Vores and James Yannatos, and the world premiere of an oratorio by Kareem Roustom. In recent seasons, Mr. Kravitz presented the world premieres of Thomas Whitman’s A Scandal in Bohemia with Orchestra 2001; James Yannatos’s Lear Symphony with the Harvard-Radcliffe Orchestra; Julian Wachner’s My dark eyed one with Back Bay Chorale; and short operas by Andy Vores and Theo Loevendie with Boston Musica Viva.

Mr. Kravitz’s recordings of Andy Vores’ 50-minute song cycle Goback Goback and of Harbison’sWinter’s Tale, both with Boston Modern Orchestra Project, are scheduled for release in 2011 on the BMOP/sound label. His other recordings include Bach’s Cantata BWV 20 and St. John Passion with Emmanuel Music (Koch International Classics), and Harbison’s Four Psalms and Peter Child’s Estrella with Cantata Singers (New World).

Before devoting himself full-time to a career in music, Mr. Kravitz had a distinguished career in the law that included clerkships with U.S. Supreme Court Justices Sandra Day O’Connor and Stephen Breyer. He later served as Deputy Legal Counsel to the Governor of Massachusetts.

Tosca – Skylight Music Theatre

Both the spotlight and the shadows fell on David Kravitz’s psychotic Scarpia in this blood-and-gore Tosca from Skylight Music Theatre (opened September 25). Kravitz’s penetrating voice projected with a manic focus that had the audience transfixed by his lust for torture, rape and killing. He is a first-rate actor, too, and his glittering, devilish silver-and-black costume (designed by Kristy Leigh Hall) made him even larger than life.”

Jonathan Richmond, Opera (UK)

David Kravitz played the sleazy Scarpia with just the kind of overwhelming sneakiness Puccini wanted out of his evil foil. Kravitz has an exceedingly expressive baritone that capture each and every treachery Scarpia pulled off.”

Dave Begel, On Milwaukee

Baritone David Kravitz played Scarpia with a warm, even, character-filled voice.”

Elaine Schmidt, Milwaukee Journal Sentinel

Recoding of Macmillan’s “Clemency” – Boston Lyric Opera

Baritone David Kravitz is magnificently stentorian and resonant — just the kind of singer you would want playing such a towering figure.”

Joshua Rosenblum, Opera News

Odyssey Opera – Un giorno di Regno

Baritone David Kravitz gave one of his finest performances as Giulietta’s suitor La Rocca, the posterior half of the ill-fated May-December romance.”
Kalen Ratzlaff, Opera News

Recording of Andy Vores’ “Goback Goback” – Boston Modern Orchestra Project

Baritone David Kravitz sings Graham’s elliptical poetry with a flexibility of tone and freedom of expression that suggest a deeper-voiced Peter Pears.”

Laurence Vittes, Gramophone Magazine

Emmanuel Music – A Little Night Music

As Fredrik Egerman, the lawyer who realizes over the course of an evening what a fool he is to have married a girl younger than his son and that his true love – if such a thing exists under the midnight sun – is his old flame Désirée, David Kravitz put in a stellar performance, which should be no surprise to those who regularly hear opera inM Boston. Kravitz spoke his words with nuanced understanding of their import and sang with vocal allure, creating a total performance that could not be separated into its component vocal and textual parts. Although it might not have been Sondheim’s intention, Fredrik became the moral and musical center of the entire work.
David Bonetti, Berkshire Fine Arts

Washington National Opera – Approaching Ali

As Davis Miller, David Kravitz had the no-doubt strange experience of portraying a living protagonist who was at the performance. A charismatic baritone, Mr. Kravitz offered a vividly etched and satisfying interpretation of the author, who reminisces in the opera about his troubled childhood.
Vivien Schweitzer, The New York Times

In a lively spin as Miller, David Kravitz used his ample, sturdy baritone deftly.
Tim Smith, Opera News

The character of the adult Miller, sung with force and passion by baritone David Kravitz…
Charles T. Downey, The Washington Post

Boston Lyric Opera – Clemency

David Kravitz was vocally and dramatically excellent as Abraham.
Jeremy Eichler, The Boston Globe

The opera opens with an extended chant for Abraham (performed with vocal presence and great personality by baritone David Kravitz), during which time he constructs a table in front of us.
Brian Schuth, The Boston Musical Intelligencer

Boston Baroque – La serva padrona

David Kravitz, familiar from performances with the Boston Symphony and Boston Lyric Opera, sang the role of Uberto with impeccable musicality, fine comic timing, and exemplary enunciation.
Harlow Robinson, The Boston Globe

Harlow Robinson, The Boston Globe

King Fisher, her protective and censorious father, was sung by David Kravitz with vocal heft and earthy resolve.
Jeremy Eichler, The Boston Globe

Boston Lyric Opera – The Inspector

David Kravitz and Neal Ferreira, as Cosimo and Tancredi, respectively, are sung with verve and portrayed in gusto. In particular, Kravitz possesses a warm and powerful baritone.
Angelo Mao, Boston Classical Review

…and David Kravitz, a standout, was [Tancredi’s] would-be valet Cosimo.
Jeremy Eichler, The Boston Globe

Boston Jewish Music Festival – The Yiddish Art Songs of Weiner

Many, such as the 1936 setting of H. Rosenblatt’s Der Held (The Hero), end suddenly, with an unexpected twist. In this case the broken-off ending reflects the ironic question at the end of the poem, about a war veteran reduced to begging: “Is a shower of pennies in my cup enough?” It was sung powerfully by baritone David Kravitz, whose huge voice was particularly well suited for this selection.
David Schulenberg, The Boston Musical Intelligencer

Boston Midsummer Opera – L’italiana in Algeri

David Kravitz resourcefully wrung a fair bit of character out of Taddeo’s nervous perplexity while lavishing a deep, ringing baritone on his lines.
Matthew Guerrieri, Boston Globe

With his big voice and confident stage presence, Boston favorite David Kravitz, who debuted last season with NYC Opera, made more than most baritones ever do of the role of Taddeo, Isabella’s older admirer who poses as her uncle. Pompous and cowardly, stuffy and shrinking, this was a broad but amusingly detailed characterization.
Lloyd Schwartz, The Boston Phoenix

In the hands (voice, posture, rubber-face) of the marvelous David Kravitz, Taddeo is one of the funniest, and oddly endearing, characters in this opera. He sang terrifically, as he always does, and was another serious reason to catch this opera this week.
Susan Miron, The Boston Musical Intelligencer

Songs of Life Festival – A Melancholy Beauty

Kravitz, portraying the insidious and anti-Semitic Commissar Belev, sang beautifully and brilliantly.
Rebecca Marchand, The Boston Musical Intelligencer

Emmanuel Music – The Rake’s Progress

As Nick Shadow, baritone David Kravitz was sonorously fine, a powerful gunmetal voice with a sardonic polish around the edges. Their characterizations were crisp…Kravitz giving Shadow’s lines a hint of mirthful color, bemused at his quarry’s fecklessness.
Matthew Guerrieri, Boston Globe

David Kravitz…was a formidable Nick Shadow—the seducing Devil figure added by Stravinsky and the librettists to the original material.
Charles Warren, The Berkshire Review

Opera Boston – Cardillac

David Kravitz was vocally and dramatically persuasive as the ill-fated Gold Merchant.
Jeremy Eichler, Boston Globe

…the strong, rich bass of David Kravitz’ Gold Merchant…brought far more depth and energy to [his character] than the writing suggests.
Tom Schnauber, Boston Musical Intelligencer

David Kravitz was vivid both as the Marshall who proclaims the will of the higher political power, and as the Gold Merchant who is falsely accused and tortured.
Charles Warren, The Berkshire Review

The vocally striking baritone David Kravitz offered an endearing, sympathetic Gold Merchant.
Dana Astmann, www.parterre.com

Boston Symphony Orchestra – St. John Passion

The men soloists were especially good…pervasive and invaluable Boston presence David Kravitz singing Peter and Pilate with strong voice.
Charles Warren, The Berkshire Review

Boston Classical Orchestra – Rosencrantz and Guildenstern Are Dead

Baritones David Kravitz and Chad Sloan sang with skill, power, and exemplary diction…
David Perkins, Boston Globe

Chorus Pro Musica – Sacred Service

Baritone David Kravitz sang the cantor’s role with great warmth and intensity, and his directness in the English passage (which was both declaimed as well as sung) was exhilarating.
Liane Curtis, The Boston Musical Intelligencer

Emmanuel Music – Die Schöpfung

As the angel Raphael, baritone David Kravitz … sang not only with power and eloquence but a deep understanding of the text.
David Weininger, The Boston Globe

In sumptuously flexible voice, singing a role usually reserved for the deepest basses, Kravitz captured both the stentorian grandeur of declamation and Haydn’s tender, wide-eyed, yet also knowing snapshots of the animal kingdom.
Lloyd Schwartz, The Boston Phoenix

Boston Modern Orchestra Project – Winter’s Tale

But the dramatic weight of the opera falls chiefly on Leontes, who was brilliantly sung by David Kravitz. His robust voice rang out easily over the orchestra, but it was chiefly his presence and the sheer force of his character that made Friday’s performance so compelling.
David Weininger, The Boston Globe

Baritone David Kravitz as King Leontes bears the brunt of the show’s musical and dramatic demands and remains the standout in a fine, fluid cast.
Ken Smith, Gramophone (Dec. 2012)

Leontes was one of baritone David Kravitz’s finest accomplishments, and he was one of the few people who could be both heard and understood distinctly over the orchestra.
Lloyd Schwartz, The Boston Phoenix

The opera might well be titled ‘Leontes,’ so decisive and overwhelming is this character’s presence and mood…. [T]he concert has to be considered a personal triumph for the Leontes, baritone David Kravitz, almost as much as for Harbison. Kravitz’s large, multi-layered voice, his passion, his subtlety, his deeply considered acting, rode large over everything…. No one, and nothing that happens, stands up to [Leontes’] strange mood – it is something we hear in Harbison’s music and something that Kravitz projected not only in his voice, but in his face and bearing.
Charles Warren, The Berkshire Review for the Arts

Boston Baroque – Il maestro di cappella

Kravitz returned as the title character and gave a tour de force. Placed on a platform mid-orchestra, he sang for 18 minutes, managing the difficult stops and starts as the orchestra comes in to do his bidding. He produced a loud, handsome tone, and projected the text clearly.
David Perkins, The Boston Globe

This year’s heartwarming, mostly-Mozart program proved particularly welcome, given the gloomy weather and the current general mood. And it made me wonder yet again why the program’s hilarious secret weapon, baritone David Kravitz, isn’t a bigger star…. Kravitz excelled in both [Mozart’s Bastien und Bastienne and Cimarosa’s The Music Director], and sang throughout with his customary command, but he was truly peerless in the Cimarosa…. In the witty Music Director, however, Kravitz was utterly in his element – not only was his sound gorgeous, but his characterization was superb, proving that he can slice the comic ham with the best of ’em…. The only question in any one’s mind at the final standing ovation was – how will they ever top this next year?
Thomas Garvey, The Hub Review

Opera Theatre of St. Louis -The Mikado

Baritone David Kravitz’s Ko-Ko, the accidental Lord High Executioner, exhibited perfect comic timing, clear diction, and one of the best voices in the cast. His ‘Little List’ was a high point of the evening.
Sarah Bryan Miller, St. Louis Post-Dispatch

David Kravitz had more than enough voice for Ko-Ko, the Lord High Executioner, and, looking like Groucho Marx, he found moments of pathos and hilarity (‘Tit-willow’ included both) while commanding the show.
Judith Malafronte, Opera News

David Kravitz is an irresistible Ko-Ko, with bright, forward tone and crisp diction.
Scott Cantrell, Dallas Morning News

Boston Symphony Orchestra – St. Matthew Passion

Many of Boston’s finest singers were featured in smaller roles, and of them baritone David Kravitz (as Peter, Pilate, Pontifex and the Second Priest) was exceptional. He brought a resolute power and total connection that eluded the baritones in the principal parts.
Wayman Chin, Opera News

Of the singers in the smaller roles, David Kravitz’s baritone stood out for its boldness and character, and made one wonder if the BSO should have looked closer to home for Bach soloists.
Jeremy Eichler, The Boston Globe

Outstanding Boston singer” David Kravitz was “powerful here as both Peter and Pilate” and “put most of the visiting vocalists to shame.
Lloyd Schwartz, The Boston Phoenix

Opera Boston – Semele

David Kravitz … as Somnus, gave compelling accounts of the sleep god’s back-to-back arias.
George Loomis, The Financial Times

As Somnus, the god of sleep, [Kravitz’s] mellifluent legato was both funny and beautiful.
Matthew Guerrieri, The Boston Globe

COMPOSER ROLE OPERA
Berg Wozzeck Wozzeck
Britten Billy Budd Billy Budd
Donizetti Belcore L’elisir d’amore
Donizetti Malatesta Don Pasquale
Gilbert & Sullivan Ko-Ko The Mikado
Gilbert & Sullivan Captain Corocoran HMS Pinafore
Handel Zoroastro Orlando
Handel Somnus, Cadmus Semele
Humperdinck Father Hänsel und Gretel
Lehar Danilo The Merry Widow
Mozart Guglielmo, Don Alfonso Così fan tutte
Mozart Leporello Don Giovanni
Mozart Count Almaviva, Figaro Le nozze di Figaro
Mozart Papageno Die Zauberflöte
Pergolesi Uberto La serva padrona
Puccini Marcello, Schaunard La bohème
Puccini Ping Turandot
Rossini Figaro ll barbiere di Siviglia
Rossini Dandini La cenerentola
Rossini Taddeo L’italiana in Algeri
J. Strauss Dr. Falke Die Fledermaus
R. Strauss Harlekin Ariadne auf Naxos
R. Strauss Oliver Capriccio
Stravinsky Nick Shadow The Rake’s Progress
Verdi Ford Falstaff
Verdi Germont La traviata
Ward J. Proctor, T. Putnam The Crucible
Bach B Minor Mass
Bach St. Matthew Passion
Bach St. John Passion
Bach Christmas Oratorio
Bach Magnificat
Bach Coffee Cantata
Barber Dover Beach
Beethoven Symphony No. 9
Beethoven Missa solemnis
Berlioz L’enfance du Christ
Brahms Ein deutsches Requiem
Britten Cantata misericordium
Britten War Requiem
Fauré Requiem
Handel Apollo e Dafne
Handel Judas Maccabeus
Handel Messiah
Harbison Four Psalms
Haydn Die Jahreszeiten
Mahler Lieder eines fahrenden Gesellen
Mahler Kindertotenlieder
Mendelssohn Elijah
Mozart Requiem
Mozart Mass in C minor
Orff Carmina Burana
Prokofiev Lt. Kije Suite
Purcell The Fairy Queen
Purcell King Arthur
Schumann Szenen aus Goethes Faust
Verdi Requiem

 

 

 

A commercial recording of Winter’s Tale is available here

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