Kirk Dougherty

Kirk Dougherty

With a sound combining clarity, strength, and integrity, Kirk Dougherty is one of the most exciting voices entering the opera circuit today. His expressivity and commitment to both musical and dramatic interpretation has earned him continuous appearances as a leading tenor since he began a serious foray into the repertoire just six years ago. Of his recent performance in Tosca, the San José Mercury News exclaimed, “Kirk Dougherty shined…The unique timbre and expression of his handsome voice, coupled with refined, satisfying phrasing, provided noteworthy, heartfelt performances of ‘Recondita armonia’ and ‘E lucevan le stelle,’ two of the treasured arias of the repertoire.

Calendar

Event Date
Mar 4
to
Mar 6
Mefistofele
Faust
Knoxville Opera
Knoxville, Tennessee
Event Date
Apr 22
to
Apr 24
Rigoletto
Duke
Opera Orlando
Orlando, Florida

Artist Bio

With a sound combining clarity, strength, and integrity, Kirk Dougherty is one of the most exciting voices entering the opera circuit today. His expressivity and commitment to both musical and dramatic interpretation has earned him continuous appearances as a leading tenor since he began a serious foray into the repertoire just six years ago. Of his recent performance in Tosca, the San José Mercury News exclaimed, “Kirk Dougherty shined…The unique timbre and expression of his handsome voice, coupled with refined, satisfying phrasing, provided noteworthy, heartfelt performances of ‘Recondita armonia’ and ‘E lucevan le stelle,’ two of the treasured arias of the repertoire.

Upcoming engagements include Alfredo in La Traviata with Opera Southwest, Faust in Boito’s Mefistofele with Knoxville Opera, and the Duke in Rigoletto with Orlando Opera.

Other recent engagements include the role of Rodolfo in La bohème with Salt Marsh Opera, Lionetto in Gloria with Teatro Grattacielo, Leicester in Maria Stuarda with Piedmont Opera, Mr. Cannelloni in The Impresario and Rinuccio in Gianni Schicchi with Knoxville Opera, Almaviva in Il barbiere di Siviglia with Raylynmor Opera, Cavaradossi in a concert production of Tosca with Helena Symphony and in full production with NJ Festival Orchestra, the tenor solo in Verdi’s Requiem with Allentown Symphony, performed as a soloist in concert with Opera Delaware, sang the role of Cavaradossi/Rodolfo in Puccini at the Pendry concert with Maryland Opera, Handel’s Messiah with National Chorale, the role of Duke of Mantua in Rigoletto with Opera Las Vegas, Edgardo in Lucia di Lammermoor with Bob Jones University, Tamino in Die Zauberflöte with Glacier Symphony as part of their Festival Amadeus, Mozart’s Solemn Vespers for MidAmerica Productions at Carnegie Hall, Rinuccio in Gianni Schicci/Buoso’s Ghost with Opera Delaware, Pinkerton in Madama Butterfly and the tenor solo in Stabat Mater with Wichita Grand Opera, Nikolaus Sprink in Silent Night with Piedmont Opera, and both Count Almaviva in Il barbiere di Siviglia and Albert in The Secret Garden with the Utah Festival Opera and Musical Theatre. Other recent appearances included a return to Anchorage Opera as Don José in Carmen and Verdi’s Requiem with the New Jersey Choral Society.

Mr. Dougherty made his Opera San José début as the Duke in Rigoletto, and later returned to the house as Tamino in Die Zauberflöte, Philip in the world première of Where Angels Fear to Tread by Mark Weiser, his role début of Cavaradossi in Tosca, and the roles of Don José in Carmen and Mitch in A Streetcar Named Desire.  Additionally, Kirk performed the role of Pinkerton in Madama Butterfly for Anchorage Opera, where he previously sang the roles of Arturo in Lucia di Lammermoor and Joseph Treate in the world première of Victoria Bond’s Mrs. President.

Previous seasons include his company débuts with Sarasota Opera in the role of Manrico in Il trovatore, the American Symphony Orchestra portraying Aaron in Bruch’s oratorio Moses at Carnegie Hall, the Glacier Symphony performing Mahler’s Das Lied von der Erde, Salt Marsh Opera as Ernesto in Don Pasquale, and the title role in Faust for Opera Louisiane.

Updated September 1, 2021.

Video

“Che gelida manina” from La bohème

Nikolaus’ Monologue from Silent Night 

“Tu che a dio spiegasti l’ali” from Lucia di Lammermoor

Final Scene from Lucia di Lammermoor

Duet from Madama Butterfly 

Press

"...brought the house down..." – The Mercury News

Lucia di Lammermoor – “But it was Dougherty, wearing his heart on his sleeve, who brought the house down with closing statements “Fra poco a me ricovero” and “Tu che a Dio spiegasti l’ali” – a testament to his vocal technique and dependable stamina.”

"...a committed and exciting performance..." – Classical Voice North America

Il trovatore – “The evening’s Manrico, Kirk Dougherty, rose valiantly to the challenge with a committed and exciting performance. To his credit, he even sang the notes of the coda, which tenors often leave out as they gear up for the (unwritten) high note. His performance crowned a satisfyingly ardent and appealingly muscular performance.”

"...his singing in the arias was ardent and direct...” – Opera News

Where Angels Fear to Tread – “Tenor Kirk Dougherty was credible as Philip, the stuffy, withdrawn Englishman who is transformed by Italy. He managed the pages and pages of text allotted his character with a consistent level of engagement, and his singing in the arias was ardent and direct”

"...brilliant, energetic tones... – Opera Today

Rigoletto – “Kirk Dougherty was a robust Duke, both vocally and physically. A young, rich, athletic member of the nobility, no law could come between this character and pleasure. Onlookers could understand how he managed to fascinate Gilda. His Duke sang with brilliant, energetic tones that helped make the rendition of the famous quartet a delight. Having paced his performance well, he still had plenty of voice left for the final round of “La donna è mobile” that told Rigoletto the Duke was still alive.”

"...convincing and dramatic...” – Alaska Dispatch News

Madama Butterfly – “Dougherty was a rare Pinkerton who came across as genuinely remorseful. His sincerity and Dukach’s intensity made the finale convincing and dramatic.”