Kenneth Overton is lauded for blending his opulent baritone with magnetic, varied portrayals that seemingly “emanate from deep within body and soul.” Kenneth Overton’s symphonious baritone voice has sent him around the globe, making him one of the most sought-after opera singers of his generation. In 2020, Kenneth became a GRAMMY AWARD WINNER for Best Choral Performance in the title role of Richard Danielpour’s The Passion of Yeshua with the Buffalo Philharmonic Orchestra and Chorus, conducted by JoAnn Falletta. This season, Kenneth joins the San Francisco Opera as Suleiman in Omar, while covering Abdul/Abe and King’s Herald Lohengrin. Overton also joins Intermountain Opera Bozeman as Marcello in La bohème, and in concert he joins Lyric Fest for their Love Songs Concert, as well as the Resonance Ensemble as a featured soloist in a recital of Black composer’s works, curated by Damien Geter.
Last season, Overton featured largely at the Welsh National Opera, leading their production of Migrations and performing the role of Duncan in The Shoemaker, both being world premieres. Overton went on to sing Porgy in Porgy and Bess, a co-production by Opera Carolina and North Carolina Opera. Concert engagements included The Washington Chorus performances of Duruflé’s Requiem as a soloist, and Undine Smith Moore’s Scenes from the Life of a Martyr as the narrator; additionally, Overton performed a concert staging of Porgy and Bess with the NDR Elbphilharmonie Orchestra in Hamburg, Strauss’ Daphnewith the American Symphony Orchestra, Bach’s St. John Passion with The Dessoff Choirs, Handel’s Messiah at the University of Chicago’s Rockefeller Chapel, A Knee on the Neck and Dona Nobis Pacem with the New York Choral Society, the African American Music Festival at Pennsylvania State University, and concerts with the Howland Chamber Music Circle and Spartanburg Philharmonic. [read more...]
"... capacious-voiced baritone Kenneth Overton..." – Opera News
Daphne – “The only Shepherd that could hold his own with the racket Botstein unleashed in their scenes was experienced and capacious-voiced baritone Kenneth Overton."
"...the ability to take your breath away and reduce you to tears..." – St. Louis Limelight
Lost In The Stars – “In an emotional powder-keg of a role, Kenneth Overton soars with his potent baritone and poignant renditions of every number. He pulls everyone’s heartstrings tight and has the ability to take your breath away and reduce you to tears. His showstopping ‘Lost in the Stars’ delivery to close Act I is haunting and will remain one of my favorite and best moments of Union Avenue Opera’s 24th season.”
"...prepare for chills..." – Pensacola News Journal
Showboat – “In my mind, any discussion of Showboat starts with its most famous song – the magnificent ‘Ol Man River.’ It is the absolute jewel in the crown within Kern’s score, and when placed in the hands of a singer who can master its challenges, it is an automatic highlight. In baritone Kenneth Overton, Pensacola Opera has a singer who more than masters ‘Ol Man River.’ Overton who plays Joe, absolutely soars, and prepare for chills when the male chorus adds their voices to the mix.”
"...sang with great assurance and strength..." – Pittsburgh Tribune-Review
Porgy and Bess – “Kenneth Overton was fabulous in the title role. He sang with great assurance and strength, and his acting was breathtaking.”
"...soulfull lightness of his voice..." – Duluth News Tribune
Vaughan Williams' Sea Symphony – “Baritone Kenneth Overton simply melted away all fear of the sea ‘on the beach at night alone.’ Throughout the work he was able to use the fullness of his voice, as well as the soulful lightness of his high notes in nostalgic moments.”
"...a ringing, resonant baritone..." – Modesto Bee
Porgy and Bess – “For me, however, the truly exceptional performance of this production came from Kenneth Overton as Porgy. His sheer vocal power — a ringing, resonant baritone that seemed to emanate from deep within body and soul — could have carried the whole show on its own. But beyond this, he seemed to possess an intuitive sense of the character that not only projected itself compellingly to the audience, but enriched and enhanced the other roles as well.”