Jennifer Brennan-Hondorp

Kishna Davis

Pamela Hinchman

Pamela Hinchman

Teresa Seidl

Shawnette Sulker

Stella Zambalis

Buffy Baggott

Misty Bermudez

Julia Elise Hardin

Jennifer Lane

Carol Sparrow

Michelle Wrighte

Robert Bracey

Benjamin Brecher

James Doing

Randolph Locke

Jeffrey Springer

Mark Thomsen

Bradley Williams

Graham Fandrei

Kenneth Overton

Frederick Reeder

Charles Robert Stephens

Gerard Sundberg

James Patterson

Additional Artists

THE BEST OF GILBERT AND SULLIVAN

A GERSHWIN GALA

Concert Quartets

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Kenneth Overton, baritone

“In the role of the minister, Kenneth Overton offers a remarkably understated performance

“In the role of the minister, Kenneth Overton offers a remarkably understated performance. In both his command of this complex character and his beautiful baritone voice, Overton is a magnetic presence.”

Ron Hubbard - Pioneer Press, March 26, 2007

Lost in the Stars - Skylark Opera

 

“Life on Catfish Row was brought to tuneful reality as Kenneth Overton’s Porgy and Kishna Davis’s Bess won the audience with song and strong acting. Overton delighted the audience as Leoporello is last season’s Don Giovanni and did not disappoint in this successful return.”

Jim Eiker - Memphis Silver Star News, November 14, 2006

Porgy and Bess - Opera Memphis

 

“Two lovely operatic voices were cast in the title roles. Frequent Opera Memphis baritone Kenneth Overton gave his Porgy an optimism and self-suffiency.”

Christopher Blank - Memphis Commercial Appeal, October 16, 2006

Porgy and Bess - Opera Memphis

 

“Don Giovanni’s servant Leporello, played by Kenneth Overton, matched [Stephen] Salters with strong, comedic acting and excellent vocal skill. The response to Leporello’s curtain call was thunderous and almost eclipsed the name star’s curtain call which immediately followed.”

Christopher Blank - Memphis Commercial Appeal, 2006

Don Giovanni - Opera Memphis

 

“Baritone Kenneth Overton offered some remarkable passages.”

Mary Johnson - The Sun in Annie Arundel, May 12, 2006

Beethoven 9th Symphony - Annapolis Symphony Orchestra

 

“Baritone Kenneth Overton sang one of the three commedia ministers [Ping] giving their scene of reminiscences a poignant and detailed reading.”

James Koelker - San Francisco Classical Voice, February 28, 2006

Turandot - Sacramento Opera

 

“Perhaps the surprise performance of the evening was actually that of Kenneth Overton, whom I thought did an outstanding job as Taddeo. And who voice was strong, rich in tone and even throughout the entire performance.”

Paul Joseph Walkowski - OperaOnline, November 5, 2005

L’Italiana in Algeria - Connecticut Opera

 

“Other side-splitting moments included the bubbly Act I Finale and the Act II Trio with... the formidable bass-baritone Kenneth Overton as Isabella’s smitten ‘uncle’ Taddeo.”

Matthew Erikson - The Hartford Courant, November 5, 2005

L’Italiana in Algeria - Connecticut Opera

 

“The vibrant and talented young cast includes some exceptional voices, notably Kenneth Overton, who acclaimed leading roles include Carmen, Don Giovanni, La BohPme, Turandot and Porgy and Bess for the Connecticut Opera Company and recently made his Broadway début in Baz Luhrman’s acclaimed La BohPme.

Hereford and Worcester - BBC, October 26, 2005

L’Italiana in Algeria - Connecticut Opera

 

“As Schaunard, Kenneth Overton was the most lively of the four men and used the entire stage to benefit his character.”

Carlton J. Ilkinson - Ashbury Park Press, August 9. 2005

La BohPme - Metro Lyric Opera

 

“Kenneth Overton made a livelier Masetto with a very well vocalized ‘Ho Capito.’”

David Shengold - Opera News, May 14, 2005

Don Giovanni - Connecticut Grand Opera

 

“Kenneth Overton [as Ping] impressed with his rich-tomed baritone.”

Robert Baxter - Opera Canada, Winter 2004

Turandot - Opera Delaware

 

“The hot-headed Masetto [was] sung with verve by last-minute sub Kenneth Overton.”

Frederick Kaimann - The Star-Ledger, July 19, 2004

Don Giovanni - Metro Lyric Opera

“Kenneth Overton performed the roles of both Masetto and the Commendatore, and his resonant bass-baritone was effective in both. As Masetto, he seemed very much the simple peasant newly-wed. For his transition to Commendatore, he wore a cape, strutted across the stage with great flourish and adopted a more declamatory vocal character and upright bearing.”

Brad Tonfow - The Westfield Ledger, May 20, 2004

Don Giovanni - Westfield Symphony Orchestra

 

 

“Kenneth Overton’s powerful Papageno stole the show.”

Shirley Fleming - The New York Post, August 12, 2003

The Magic Flute - Opera Company of Brooklyn

 

“Two singers stood out...Kenneth Overton, with a drolly-acted and finely-sung Papageno.”

Jeremy Eichler - The New York Times, August 11, 2003

The Magic Flute - Opera Company of Brooklyn

 

“Mr. Overton’s vocal talents were on full display as he charmed the audience. Avirtuoso treatment of the commissioned piece ‘Been in de Storm So Long’ by Wayne Sanders generated huge applause that paved the way for an encore which alone was almost worth the entire appearance. Overton unveiled a rarely heard Negro spiritual... demanding relentless gusto, finesse and craftsmanship - all of which this young singer delivered without reserve.”

Quarter Notes, Summer 2003

The “Negro Spiritual” Scholarship Foundation - Orlando Opera

 

“Of the soloists, baritone Kenneth Overton made the strongest impression. He brought fire to ‘Why Do the Nations So Furiously Rage Together’ and weight to ‘The Trumpet Shall Sound’ with dead-on support from trumpeter Elisa Koehler.”

Tim Smith - The Baltimore Sun, December 22, 2001

Messiah - Baltimore Handel Choir

 

“Kenneth Overton’s Schaunard and... were both distinctly characterized and ably sung... Their slapstick antics in the garret and the café functioned well as ironic foils for the tragic fate of the consumptive heroine.”

Clifton J. Noble, Jr. - The Hartford Courant, November 11, 2001

La BohPme - Connecticut Opera

 

“As John Peters, baritone Kenneth Overton provided a proud instrument and an outstanding ability to project text meaningfully; like Loesch, he’s good-looking and a gifted actor. Despite the odds, Overton rendered a thoroughly convincing portrait of a character ahead of his time.

William V. Madison - Opera News online, 2001

The Gilded Cage - Nexus Arts NYC

 

“Baritone Kenneth Overton almost stole the show with his magnificent singing and engaging stage presence.”

Tony Angarano - The Hartford Courant, November 1999

Die Zauberflöte - Connecticut Opera

 

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