Hailed as “a charismatic baritone” by the New York Times, “magnificently stentorian and resonant” by Opera News, and “a first-rate actor” by Opera (UK), David Kravitz’s recent opera engagements include lead roles at Washington National Opera (Davis Miller in the world premiere of Approaching Ali), Chautauqua Opera (Captain Balstrode in Peter Grimes), Skylight Music Theatre (Scarpia in Tosca), Opera Santa Barbara (The Forester in The Cunning Little Vixen), Grand Harmonie (Don Pizarro in Fidelio), Opera Saratoga (Don Magnifico in La Cenerentola), Charlottesville (Ash Lawn) Opera (Tevye in Fiddler on the Roof), Boston Lyric Opera (Abraham in Clemency), Emmanuel Music (Nick Shadow in The Rake’s Progress and Nick Carraway in The Great Gatsby), and the New England Philharmonic (Wozzeck in Wozzeck).  He recently created the lead role of De Sade in Nicola Moro’s Love Hurts at the Piccolo Teatro in Milan, Italy, and at Symphony Space in New York.  His many concert appearances include the Boston Symphony Orchestra, the Philadelphia Orchestra, the Baltimore Symphony, the Virginia Symphony, the Santa Fe Chamber Music Festival, Emmanuel Music, Boston Modern Orchestra Project, and Boston Baroque.

During the 2020-2021 season, David Kravitz returned to the Jacksonville Symphony as the bass soloist in Handel’s Messiah. He was also originally scheduled to appear with the Boston Symphony Orchestra in Boston and at Carnegie Hall as the Millman in Shostakovich’s Lady Macbeth of Mtsensk (cancelled due to COVID-19). Spring 2021 anticipated his return to Boston Baroque, as Don Alfonso in Mozart’s Così fan tutte (postponed due COVID-19).

Engagements in Mr. Kravitz’s COVID-19 shortened 2019-2020 season included returns to Odyssey Opera as the Duke of Norfolk in Saint-Saens’ rarely heard Henry VIII and the Boston Symphony Orchestra as the Helmsman in Tristan und Isolde, which was scheduled to be performed in Boston and subsequently at Carnegie Hall (cancelled)He was also to appear as Alessandro de Medici and the Duke in Firebrand of Florence with Emmanuel Music (cancelled) and joined the Jacksonville Symphony singing the bass solos in Messiah (performed). He also reprised the bass solo in Hours of Freedom with the Defiant Requiem Foundation, this time in Atlanta (performed).

In the 2018-19 season, Mr. Kravitz returned to Odyssey Opera for Gounod’s La Reine de Saba, performed Rachmaninoff’s The Bells with the New England Philharmonic, presented the Defiant Requiem Foundation’s Hours of Freedom in New York City’s Zankel Hall, and he reprised Bernstein’s Arias and Barcarolles with mezzo-soprano Sandra Piques Eddy.

Highlights from the 2017-18 season included three appearances with the Boston Symphony Orchestra: The Damnation of Faust, Tristan und Isolde, and Schumann’s Neujahrslied (the latter two under music director Andris Nelsons); Schoenberg’s Ode to Napoleon with the Boston Chamber Music Society; and Creon and the Messenger in Stravinsky’s Oedipus Rex with Emmanuel Music.

An exceptionally versatile artist, Mr. Kravitz’s repertoire ranges from Bach to Verdi to Sondheim to cutting-edge contemporary composers such as Matthew Aucoin, Mohammed Fairouz, Paul Moravec, and Elena Ruehr.  Mr. Kravitz has recorded for the Naxos, BIS, Sono Luminus, Koch International Classics, BMOP/sound, Albany Records, and New World labels.  His distinguished legal career has included clerkships with the Hon. Sandra Day O’Connor and the Hon. Stephen Breyer.

Il Campanello – Boston Midsummer Opera

David Kravitz, in fine voice, plumbed the role of Enrico for every last ounce of its comedy.”

Jeremy Eichler, The Boston Globe

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,

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

A commercial recording of Winter’s Tale is available here