David Kravitz Baritone Neil Funkhouser Artists Management Tel: (212) 304-3796 • Fax: (212) 304-4507 105 Arden Street, #5G Email: [email protected] New York, NY 10040
OPERA AND OPERETTA ROLES Trojan Soldier/1st Sentinel – Les Troyens* Boston Symphony Orch. (2008) James Levine Somnus/Cadmus – Semele* Opera Boston (2008) Helfrich/ Pearlman Lisargo – Una Cosa Rara* Opera Theatre of St. Louis (2008) Rader-Shieber/Rovaris Ko-Ko – The Mikado Opera Theatre of St. Louis (2007) N. Canty/J. Illick Wozzeck – Wozzeck N.E. Philharmonic (2007) Richard Pittman Solostimme, 2nd Elder – Moses und Aron Boston Symphony Orch. (2006) James Levine Marchese d’Obigny – La traviata Boston Lyric Opera (2006) J. Robinson/S. Lord Olivier – Capriccio (cover) New York City Opera (2005) Lawless/Manahan Mr. Kofner – The Consul Opera Boston (2005) Gidron/G. Rose Thomas Putnam – The Crucible Opera Boston (2005) Lesenger/G. Rose Geographer – The Little Prince Boston Lyric Opera (2005) Zambello/S. Lord Hidulfus – Genoveva (Schumann) Emmanuel Music (2005) Craig Smith Aeneas – Dido and Aeneas Spectrum Singers (2005) John Ehrlich Uberto – La Serva Padrona Boston Baroque (2005) Martin Pearlman Count Almaviva – Le nozze di Figaro Granite State Opera (2004) S. Daniels/P. Lauriat Leporello – Don Giovanni Westfield (NJ) Symphony (2004) David Wroe Papageno – The Magic Flute Granite State Opera (2004) R. Lawson/P. Lauriat Nick Shadow – The Rake’s Progress Cantata Singers (2003) L. Torgove/D. Hoose Leporello – Don Giovanni Opera Aperta (2002) Minter/C. Smith Denis – The Bridal Night (E. Cohen) - Premiere Collage New Music (2002) L. Torgove/D. Hoose Benoit/Alcindoro – La bohème Opera Theatre of St. Louis (2002) Luedloff/Kelly Benoit – La bohème Boston Lyric Opera (2002) Pulitzer/Agler Figaro – The Barber of Seville Granite State Opera (2001) R. Lawson/P. Lauriat Captain Corcoran – HMS Pinafore Lake George Opera Fest. (2001) Florescu/Mechavich 3 roles – Resurrection (Machover) Boston Lyric Opera (2001) L. Major/C. Larkin Meraspe – Admeto (Handel) Emmanuel Music (2001) Craig Smith Don Alfonso – Così fan tutte Opera Aperta (2000) Minter/C. Smith Morales – Carmen Granite State Opera (2000) Gelman/Lauriat 3 roles – L’incoronazione di Poppea Boston Baroque (2000) Senelick/Pearlman Don Giovanni – Don Giovanni Longwood Opera (1999) Brumit/Brody Ken - The Black Swan (T.Whitman) - Premiere Orchestra 2001 (1998) Caldwell/Freeman Dandini – La Cenerentola Longwood Opera (1996) Brumit/Moll Belcore – The Elixir of Love Longwood Opera (1989) Brumit/Steiner Dr. Falke – Die Fledermaus Longwood Opera (1989) Brumit/Ward * upcoming performance CONCERT PERFORMANCES Bach – St. Matthew Passion (Pilate, cover Jesus)* Boston Symphony Orch. (2008) Bernard Haitink Purcell – King Arthur* Boston Baroque (2008) Martin Pearlman Bach – St. Matthew Passion (arias)* Lincon (NE) Symphony (2008) Edward Polochick Fussell – High Bridge* Cantata Singers (2008) David Hoose Mahler – Lieder eines fahrenden Gesellen* New England Philharmonic (2007) Richard Pittman Orff – Carmina Burana* Cantata Singers (2007) David Hoose Weill – Der Lindberghflug Cantata Singers (2007) David Hoose Brahms – Neue Liebeslieder Walzer Boston Chamber Music Soc. (2007) Ronald Thomas Mahler – Kindertotenlieder Boston Conservatory Orch. (2007) Beatrice Jona Affron Mozart – Requiem National Chorale (2006) Martin Josman Handel - Belshazzar (Gorgias) Cantata Singers (2006) David Hoose Purcell – The Fairy Queen Boston Baroque (2006) Martin Pearlman Primosch – Songs from “The Tempest” Orchestra 2001 (2006) James Freeman Bach – numerous Cantatas Emmanuel Music (1998-2007) Craig Smith Bach – St. John Passion (arias) Cantata Singers (2005) John Harbison Britten – Cantata misericordium Back Bay Chorale (2004) Scott Jarrett Schumann – Szenen aus Goethes Faust (Faust, Dr. Cantata Singers (2004) David Hoose Marianus) David Kravitz Baritone Neil Funkhouser Artists Management Tel: (212) 304-3796 • Fax: (212) 304-4507 105 Arden Street, #5G Email: [email protected] New York, NY 10040
CONCERT PERFORMANCES, continued Rochberg – Sacred Song of Reconciliation Boston Modern Orch. Proj. (2004) Gil Rose Handel – Apollo e Dafne (Apollo) Handel & Haydn Society (2004) Grant Llewellyn Mozart – Mass in C Minor Handel & Haydn Society (2004) Grant Llewellyn Bach – St. Matthew Passion (Jesus) Cantata Singers (2004) David Hoose Beethoven – Symphony No. 9 Brandeis Symphony (2004) Neal Hampton Monteverdi – Vespers (1610) (Audi coelum) Handel & Haydn Society (2003) Grant Llewellyn Vores – Goback Goback – World premiere Collage New Music (2003) David Hoose Bach – Coffee Cantata, BWV 211 Boston Baroque (2004) Martin Pearlman Schubert – Mass in G Mid-America Productions (2003) Timothy Peter Prokofiev – Lt. Kije Suite Harvard-Radcliffe Orchestra (2003) Gil Rose Bach – Mass in B Minor Cantata Singers (2003) David Hoose Berlioz – L’enfance du Christ (Joseph) Chorus pro Musica (2003) Jeffrey Rink Haydn – St. Nicholas Mass N.E. Classical Singers (2003) David Hodgkins Beethoven – Missa Solemnis Harvard-Radcliffe Collegium (2003) Jameson Marvin Bach – Christmas Oratorio Emmanuel Music (2002) Craig Smith Beethoven – Mass in C MIT Concert Choir (2002) William Cutter Copland – Lark Chorus Pro Musica (2002) Jeffrey Rink Bach – St. Matthew Passion (Judas, arias) Harvard-Radcliffe Collegium (2002) Jameson Marvin Bach – Cantata BWV 26 Winsor Music (2002) Peggy Pearson Mozart – Requiem Quincy Choral Society (2002) John Nichols Handel – Judas Maccabeus (Simon) Avenue of the Arts Chorale (2002) Ann Watson Born Handel – Messiah Masterwork Chorus (NYC) (2001) Andrew Megill Bach – St. Matthew Passion (arias) Cantata Singers (2001) David Hoose Weill – Der Weg der Verheißung (Solomon) Cantata Singers (2001) David Hoose Harbison – Four Psalms – Boston premiere Cantata Singers (2000) David Hoose Orff – Carmina Burana Nashoba Valley Chorale (2000) Johanna Hill Simpson Beethoven – Symphony No. 9 Williamsport Symphony (2000) Robin Fountain Soloist and Member for national tour Sequentia (2000) Benjamin Bagby Handel – Brockes Passion (Gläubige Seele) Emmanuel Music (2000) Craig Smith Bach – St. John Passion (Pilate) Emmanuel Music (1999) Craig Smith Brahms – Requiem Polymnia Choral Society (1999) James Reyes Handel – Jephtha (Zebul) Cantata Singers (1998) David Hoose Bach – Magnificat Nashoba Valley Chorale (1998) Johanna Hill Simpson Marjorie Merryman – Jonah (Jonah) Cantata Singers (1997) David Hoose Duruflé – Requiem Nashoba Valley Chorale (1997) Johanna Hill Simpson Stravinsky – Oedipus Rex (The Messenger) Cantata Singers (1996) David Hoose Mendelssohn – Elijah (Elijah) Susquehanna Valley Chor. (1996) Cyril Stretansky Barber – Dover Beach Music at the Supreme Court (1995) Berlioz – L'Enfance du Christ (Polydorus) Orchestra of St. Luke's (1994) Roger Norrington Berlioz – Damnation of Faust (A Voice) Boston Symphony Orchestra (1993) Seiji Ozawa *upcoming performance
RECORDINGS Harbison – Four Psalms Cantata Singers David Hoose, cond. New World Bach – Cantata BWV 20 Emmanuel Music Craig Smith Koch International Bach – St. John Passion (Pilate) Emmanuel Music Craig Smith Koch International Peter Child – Estrella Cantata Singers David Hoose New World
EDUCATION M.M. with honors in Voice Performance, New England Conservatory B.A. in biochemistry, Swarthmore College J.D. magna cum laude, University of Michigan Law School
OTHER ACCOMPLISHMENTS Law clerk to U.S. Supreme Court Justice Sandra Day O’Connor (1994-1995)
David Kravitz Baritone Neil Funkhouser Artists Management Tel: (212) 304-3796 • Fax: (212) 304-4507 105 Arden Street, #5G Email: [email protected] New York, NY 10040
REVIEWS
“David Kravitz excelled in the smaller baritone solos.” —Jeremy Eichler, The Boston Globe [Review of Weill, Der Lindberghflug, with Cantata Singers, September 2008]
“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 "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 is an irresistible Ko-Ko, with bright, forward tone and crisp diction." —Scott Cantrell, Dallas Morning News [Reviews of Gilbert & Sullivan, The Mikado, with Opera Theatre of St. Louis, May 2007]
"James Primosch's Songs and Dances from 'The Tempest' for soprano, baritone, and chamber ensemble allowed Kravitz to demonstrate a remarkable ability to convey the humor in the bard's work. Singing as the rough Stephano he managed to convey the dimwitted elegance of the language set to music.” —Jim McCaffrey, Philadelphia Evening Bulletin [Review of Primosch, Songs and Dances from “The Tempest,” with Orchestra 2001, April 2006]
“Resonant, articulate baritone David Kravitz had a chance to show more variety: drunken poet, horny shepherd, dignified demi-god. His singing of the slow, quiet Air of Sleep was a moment of sublime repose.” —Lloyd Schwartz, The Boston Phoenix “Coridon was baritone David Kravitz, who sang throughout the evening with verbal acuity and contagious zest, whether in a drunk scene or embodying the slow step of Winter.” —Richard Dyer, The Boston Globe [Reviews of Purcell, The Fairy Queen, with Boston Baroque, March 2006]
“These concerts were blessed by the presence of David Kravitz …. [A] wonderful singer … [a] brilliantly natural comic actor.” —David Weininger, The Boston Globe [Review of Pergolesi, La Serva Padrona, with Boston Baroque, January 2005]
“Baritone David Kravitz took the roles of Faust and Dr. Marianus. Each season this intelligent singer makes a leap forward in artistry and vocal security, and this may have been his most fulfilling performance yet. He reached great heights in Faust's passionate prayer that his days on earth not pass away and in the visionary rapture of Dr. Marianus's music.” —Richard Dyer, The Boston Globe “Fine voices were everywhere: David Kravitz in the title role, singing as usual with taste and insight.” —Keith Powers, The Boston Herald [Reviews of Schumann, Szenen aus Goethes Faust, with Cantata Singers, November 2004]
“Set to a Hebrew text, the music portrays the fearsome power of the Old Testament God. Bass-baritone David Kravitz conveyed that power in a performance of staggering impact.” —T.J. Medrek, The Boston Herald “George Rochberg’s ‘Sacred Song of Reconciliation’ is an unyielding, granitic work on a Hebrew text, sung with power, character, and so much fervor by baritone David Kravitz that he brought the house down.” —Richard Dyer, The Boston Globe
“David Kravitz delivered the Hebrew text of Rochberg’s 1973 Sacred Song of Reconciliation with power and sensitivity, holding his own against the pounding percussion.” —Lloyd Schwartz, The Boston Phoenix [Reviews of Rochberg, Sacred Song of Reconciliation, with Boston Modern Orchestra Project, Oct. 2004]
David Kravitz Baritone Neil Funkhouser Artists Management Tel: (212) 304-3796 • Fax: (212) 304-4507 105 Arden Street, #5G Email: [email protected] New York, NY 10040
“David Kravitz was sensational as Handel’s Apollo. His singing was agile and sonorous, and his enunciation was superb.” —David Cleary, The Boston Herald [Review of Apollo e Dafne, with Handel & Haydn Society, February 2004]
“Baritone David Kravitz’s ‘Et in Spiritum Sanctum’ was a highlight.” —David Weininger, The Boston Phoenix [Review of Mass in B Minor, with Cantata Singers, May 2003]
“Baritone David Kravitz was the eloquent singer, conveying the sense that he knew what lurked behind the words and letting us hear every syllable.” —Lloyd Schwartz, The Boston Phoenix [Review of Goback Goback (Vores), with Collage New Music, March 2003]
“Three singers stole the show whenever they appeared…. As the Mephistophelean Nick Shadow, Kravitz came into his own. His voice has blossomed, his comic timing has sharpened, and with his goatee and magic tricks (there’s evidently more than one card up his sleeve) and fire-engine-red tie and pocket handkerchief, he was the Devil incarnate.” —Lloyd Schwartz, The Boston Phoenix “Baritone David Kravitz as the satanic Nick Shadow gave the best performance of his career. Kravitz was suavely evil, a salesman-tempter, singing with accurate abandon.” —Richard Dyer, The Boston Globe [Reviews of The Rake’s Progress, with Cantata Singers, January 2003]
“Baritone David Kravitz was impressive as Benoit.” —Julie Mullany, Opera News “The most detailed performance is by baritone David Kravitz in the small role of the foolish landlord, Benoit (he looks like Felix Bressart in The Shop Around the Corner and plays the part with a similar nervousness).” —Lloyd Schwartz, The Boston Phoenix “The vocal standouts were the baritones – [Marcello, Schaunard,] and David Kravitz as the befuddled landlord Benoit.” —Richard Dyer, The Boston Globe [Reviews of La bohème, with Boston Lyric Opera, May 2002]
“The unequivocal show-stealer was baritone David Kravitz as Leporello. A natural crowd-pleaser, Kravitz sang with resonance and fluency, and he acted with an ease and expressiveness that far outshone the rest.” —Julie Mullany, Opera News (on-line edition) “David Kravitz nearly walked away with the show, his lush baritone putting across Leporello’s music with stylish nonchalance and his character with the comic timing of Woody Allen at his best.” —T.J. Medrek, The Boston Herald “Thank you, God, for David Kravitz. Kravitz easily walked away with the show in a nicely restrained comic performance as Leporello that was always alive and alert, both musically and theatrically. Is there still need at this late date to praise his formidable vocal talents? This baritone possesses an evenly produced velvet sound, which he can shade with the utmost subtlety. His diction, even in that tricky patter ‘Catalogue Aria,’ was exemplary.” —Stephen Marc Beaudoin, Bay Windows “David Kravitz was masterly as the servant Leporello, singing with drop-dead musicianship and voluble diction and acting with guile.” —Richard Dyer, The Boston Globe “David Kravitz, as Don Giovanni’s servant Leporello, delivers the part with great wit.” —Jonathan Richmond, MIT Tech “David Kravitz’s saucy Leporello is the production’s big success: he has the clearest enunciation, and he makes the jokes live.” —Jeffrey Gantz, The Boston Phoenix [Reviews of Don Giovanni, with Opera Aperta, August 2002]
“There was a first-rate cast.... David Kravitz provided a nervy, well-sung characterization of the troubled child- man.” —Richard Dyer, The Boston Globe [Review of The Bridal Night (E. Cohen), with Collage New Music, January 2002] “David Kravitz took a giant leap forward in expressivity and vocal opulence.... The performance was magical.” — Ellen Pfeifer, The Boston Globe [Review of Cantata Misericordium (Britten) and Cantata BWV 75, with Cantata Singers, Jan. 2002]
David Kravitz Baritone Neil Funkhouser Artists Management Tel: (212) 304-3796 • Fax: (212) 304-4507 105 Arden Street, #5G Email: [email protected] New York, NY 10040
“David Kravitz as Captain Corcoran was equally expressive both in his excellent singing and in the sly additions to his role.” —Geraldine Freeman, Glens Falls Post Star
“Baritone David Kravitz, excellent as the sappy and nervous Captain Corcoran, got the second half off to a good start with his ‘Fair Moon’ ballad.” —Bill Rice, The Daily Gazette “David Kravitz as the merry Captain ... [was] in fine form.” —Cathy DeDe, The Chronicle [Reviews of HMS Pinafore, with Lake George Opera Festival, July 2001] “There were gorgeous solos by baritone David Kravitz” —Ellen Pfeifer, The Boston Globe [Review of two of the Sechs Monologe aus Jedermann (Martin), with Cantata Singers, May 2001] “Seven ... soloists shone, David Kravitz most brightly.” —Richard Dyer, The Boston Globe [Review of Der Weg der Verheißung (Weill), with Cantata Singers, January 2001] “As Meraspe, David Kravitz tried nobly to keep his ward Antigona out of trouble, and he sang beautifully.” —Deborah Weisgall, Opera News “David Kravitz sang nobly as [Antigona’s] consort, Meraspe.” —Keith Powers, The Boston Herald [Reviews of Admeto (Handel), with Emmanuel Music, January 2001] One of the “outstanding singers of the season” for 2000. —Richard Dyer, The Boston Globe (Dec. 2000) “David Kravitz [was] superb.” —Richard Dyer, The Boston Globe [Review of Four Psalms (Harbison), with Cantata Singers, November 2000] “Kravitz ... gave [an] impeccable performance.” —Deborah Weisgall, Opera News [Review of L’incoronazione di Poppea, with Boston Baroque, October 2000] “Baritone David Kravitz ... sings with ringing conviction.” —Lloyd Schwartz, The Boston Phoenix “David Kravitz was a fine Alfonso, making the character a truly nasty piece of work, and singing with distinction.” —Jonathan Richmond, MIT Tech “David Kravitz gave the plotting Don Alfonso a confident and urbane reading.” —Keith Powers, The Boston Herald [Reviews of Così fan tutte, with Opera Aperta, August 2000] “David Kravitz contributed a vivid characterization of the vacillating Pilate.” —Richard Dyer, The Boston Globe “David Kravitz was a powerfully chilly Pilate.” —Lloyd Schwartz, The Boston Phoenix “From the large group of soloists, there were outstanding contributions from … David Kravitz.” —Ellen Pfeifer, The Boston Herald [Reviews of St. John Passion, with Emmanuel Music, April 1999] “David Kravitz not only managed the firm, confident declamatory style that was required, but a sure purchase on the notes, which were often laid out in jagged, tough, thorny lines.” —Richard Buell, The Boston Globe [Review of Estrella (Child), with Cantata Singers, February 1999] “David Kravitz sings the tutor in a baritone that is well honed and widely registered, capable of many timbres.” —Lesley Valdes, The Philadelphia Inquirer [Review of The Black Swan (Whitman), with Orchestra 2001, September 1998] “Baritone David Kravitz was, as usual, excellent [as Zebul].” —Lloyd Schwartz, The Boston Phoenix “David Kravitz, as Zebul, sang with handsome diction and tone.” —Ellen Pfeifer, The Boston Herald [Reviews of Jephtha (Handel), with Cantata Singers, March 1998] “David Kravitz, whose natural, intelligent, and resonant singing I’m increasingly impressed with, was the tormented Jonah.” —Lloyd Schwartz, The Boston Phoenix [Review of Jonah (Merryman), with Cantata Singers, May 1997] “The sonorous David Kravitz made Pilate a real and complicated presence.” —Richard Dyer, The Boston Globe [Review of St. John Passion, with Cantata Singers, March 1997] David Kravitz Baritone Neil Funkhouser Artists Management Tel: (212) 304-3796 • Fax: (212) 304-4507 105 Arden Street, #5G Email: [email protected] New York, NY 10040
“The ‘impostor’ [Dandini] was sung by David Kravitz in great style, displaying a voice of note.” —Gail Carson, The Middlesex News [Review of La Cenerentola, with Longwood Opera, November 1996] “The easy, fluent coloratura of bass David Kravitz [was] exceptional.” —Richard Dyer, The Boston Globe
“Warm and openhearted.” —Lloyd Schwartz, The Boston Phoenix [Reviews of Cantata BWV 8 (Bach), with Cantata Singers, May 1996]
“David Kravitz brought a handsome burgeoning baritone to the Messenger.” —Richard Dyer, The Boston Globe [Review of Oedipus Rex (Stravinsky), with Cantata Singers, March 1996]
Please visit David’s website at: www.davidkravitz.com