REVIEWS
Gilbert & Sullivan, The Mikado (Opera Theatre of St. Louis, 2007)
"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
Bach, St. Matthew Passion (Boston Symphony Orchestra, 2008)
"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
Handel, Semele (Opera Boston, 2008)
"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
Mozart, Don Giovanni (Opera Aperta, 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
"David Kravitz nearly walked away with the show, his lush baritone putting across Leporello's music with stylish nonchalance."
-T.J. Medrek, The Boston Herald
"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.... 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'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
Stravinsky, The Rake's Progress (Cantata Singers, 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
Rochberg, Sacred Song of Reconciliation (Boston Modern Orchestra Project, Oct. 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
Primosch, Songs and Dances from "The Tempest" (Orchestra 2001, 2006)
"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
Schumann, Szenen aus Goethes Faust (Cantata Singers, 2004)
"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
Handel, Apollo e Dafne (Handel & Haydn Society, 2004)
"David Kravitz was sensational as Handel's Apollo. His singing was agile and sonorous, and his enunciation was superb."
- David Cleary, The Boston Herald
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