Critics have praised baritone David Kravitz‘s “large, multi-layered,” “exceedingly expressive,” and “sumptuously flexible” voice, his “power and eloquence,” his “deeply considered acting” and “confident stage presence,” his “impeccable musicality,” and his “deep understanding of the text.” Recently the New York Times described him as “a charismatic baritone,” and praised his “vividly etched and satisfying interpretation,” and Opera News declared him “magnificently stentorian and resonant – just the kind of singer you would want playing such a towering figure” as Abraham. His 2017-18 season includes three appearances with the Boston Symphony Orchestra: Brander in The Damnation of Faust, Kurwenal in Act II of Tristan und Isolde, and the bass soloist in Schumann’s Neujahrslied. This season also features return engagements with Emmanuel Music for Creon and The Messenger in Stravinsky’s Oedipus Rex, and Grand Harmoniefor The President in a new pastiche opera called On Behalf of a Madman.

In 2016-17, Mr. Kravitz makes his role and company debuts as The Forester in The Cunning Little Vixen at Opera Santa Barbara, he returns to the Boston Symphony Orchestra under Andris Nelsons for Der Rosenkavalier, he reprises the lead role in Love Hurts in the opera’s American premiere with the Center for Contemporary Opera, and he returns to American Lyric Theater for Inspector Lestrade in Sherlock Holmes and the Case of the Fallen Giant. The 2015-16 season featured his role and company debuts as Scarpia in Tosca at Skylight Music Theatre, and as Pizarro in Fidelio with Grand Harmonie; Messiah with the Virginia Symphony Orchestra; and return engagements with Odyssey Opera for The Fish in Gunther Schuller’s The Fisherman and His Wife, with Emmanuel Music for Weill’s The Seven Deadly Sins and Pan in Bach’s Der Streit zwischen Phoebus und Pan, and with Boston Midsummer Opera for Enrico in Donizetti’s rarity Il campanello. He also revisits Beethoven’s Symphony No. 9 with both the Cape Symphony and the New Bedford Symphony.