“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
