top of page
  • 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 has made an impact on concert and operatic stages alike.

Mr. Kravitz’s 2023-24 season begins with a return to the Defiant Requiem Foundation in recital singing a world premiere of Jewish-American composer Gerald Cohen’s new song cycle. He then continues his freqeunt collaboration with the Boston Symphony Orchestra as he makes his role debut as the Millhand in Shostakovich’s Lady Macbeth of Mstensk in Boston and at Carnegie Hall.  

Most recently, Mr. Kravitz appeared with the Indianapolis Symphony for Mendelssohn’s Elijah, the Pioneer Valley Symphony for Brahm’s Ein Deutsches Requiem, and the Jacksonville Symphony as the bass soloist in Handel’s Messiah. Spring 2021 anticipated his return to Boston Baroque, as Don Alfonso in Mozart’s Così fan tutte (postponed due COVID-19).

David Kravitz’s other career highlights 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.

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.

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

bottom of page