Open Site Navigation
  • Instagram
  • Facebook
  • YouTube

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.

Most recently, Mr. Kravitz appeared with the Indianapolis Symphony for Mendelssohn’s Elijah and the Pioneer Valley Symphony for Brahm’s Ein Deutsches Requiem. In the previous season, he 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).

Past engagements include multiple performances with Boston Symphony Orchestra for The Damnation of Faust, Tristan und Isolde, and Schumann’s Neujahrslied; Odyssey Opera in La Reine de Saba and as the Duke of Norfolk in Saint-Saens’ rarely heard Henry VIII; performances of Hours of Freedom in Atlanta and New York at Zankel Hall with the Defiant Requiem Foundation; Handel’s Messiah with Jacksonville Symphony; Schoenberg’s Ode to Napoleon with the Boston Chamber Music Society; Rachmaninoff’s The Bells with the New England Philharmonic; 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

Boston Baroque - La serva padrona

"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

Leontes' scene from John Harbison's Winter's TaleDavid Kravitz
00:00 / 07:25
"Hai gia vinta la causa"David Kravitz
00:00 / 04:35

David Kravitz