Critical Acclaim

• Boston Symphony Orchestra – “St. Matthew” Passion

• 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.

  Opera News Online (Wayman Chin)

• “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.”

  -Boston Globe (Jeremy Eichler)

• Opera Boston – Semele

• "David Kravitz...gave engaging accounts of the sleep god's back-to-back arias."

                                                                             Opera (George Loomis)

• “David Kravitz continues to make an impression with his versatility. He was sweetly befuddled as Semele's father (one almost expected him to break into a chorus of "Kids!" from Bye, Bye, Birdie), and cute and soft as Somnus, wearing those flannel pajamas with the feet that most of us hated as kids; once Pasithea came calling, licking an ice cream cone and sporting a Frederick's of Hollywood teddy, Kravitz turned into a wound-up toy soldier.”

  -Opera News Online (Wayman Chin)

• Opera Theatre Of St. Louis – The Mikado

  “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, May 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, May 2007

• Orchestra 2001

  “James Pirmosch'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, April 28, 2006

• Boston Baroque – The Fairy Queen

  “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, Boston Globe, March 6, 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, Boston Phoenix, March 8, 2006

• Opera Boston – The Crucible

  “Standouts in the cast included David Kravitz, a blazing fury of avarice as the corrupt Thomas Putnam.”

  -Wayman Chin, Opera News, June 2005

• “Baritone David Kravitz particularly impressed as the villainous Thomas Putnam.’

  -T. J. Medrek, Boston Herald, April 10, 2004

• Cantata Singers – The Rake’s Progress

  “Kravitz was suavely evil, a salesman-tempter, singing with accurate abandon.”

  -Boston Globe, January 2003           

• “…as the Mephistophelean Nick Shadow, he 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.’

  -Boston Phoenix, January 2003

• Opera Aperta – Don Giovanni

  “David Kravitz nearly walked away with the show, his lush baritone putting across Leporello’s music with stylish nonchalance and his character with comic timing at his best”

  -The Boston Herald  August 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.”

  -Opera News Online, November 2002

• “David Kravitz was masterly as the servant Leporello, singing with drop-dead musicianship and voluble diction and acting with guile.”

  -The Boston Globe, August 2002

• “David Kravitz’s saucy Leporello is the production’s big success; he has the clearest enunciation, and he makes the jokes live.”

  -The Boston Phoenix, August 2002

• Boston Lyric Opera – La Bohème

  “Baritone David Kravitz was impressive as Benoit.”

  -Opera News, May 2002

• “The vocal standouts were the baritones – [Marcello, Schaunard] and David Kravitz as the befuddled landlord Benoit.”

  -The Boston Globe, May 2002