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KEVIN THOMPSON
BASS
BIOGRAPHY
Kevin Thompson, acclaimed by the New York Times as a “stentorian bass”, “possesses a voice with extraordinary range, depth, color combined with a commanding stage presence…a mountain of a voice, with resonance from the Escorial of Philip II to the throne of Boris Godunov, and the majestic court of Sarastro…” (San Francisco Classical Voice).
This season, Thompson has house debuts with Washington National Opera in Elektra, as both Der Pfleger des Orest and Ein Alter Diener, and with Fort Worth Opera in Aida as Il Re. Thompson goes on to perform Sparafucile in Utah Opera’s Rigoletto and the role of Canterbury in Saint-Saëns’ Henry VIII at Bard College. In concert, Mr. Thompson will return to Opera Omaha for an Opera Outdoors Concert with scenes from Boito’s Mefistofele as Mefistofele; with Roanoke Opera for their Opera Gems Gala Concert; Eureka Symphony for Verdi’s Requiem; and finally, with Odyssey Opera for Rachmaninoff’s Troika: as The Old Gyspy in Aleko, Ivan in The Miserly Knight, and The Ghost of Virgil in Francesca di Rimini. Future engagements include house debuts with Opera Colorado and The Dallas Opera. [read more...]
CRITICAL ACCLAIM
"Not only is his instrument monstrous in its quality and volume, but it is highly articulate, fearless in his ability to traverse his entire range and colorful." – OperaWire
Macbeth – "As Banco, audiences got a chance to marvel at the imposing bass of Kevin Thompson. Not only is his instrument monstrous in its quality and volume, but it is highly articulate, fearless in his ability to traverse his entire range and colorful. The shading in his final scene, the famed aria “Come dal cielo precipita,” had a controlled shimmer that expressed the fear he sensed around him. Contrast this with the brighter colors he managed from the opening duet with Macbeth, doubt and jest creeping into his performance."
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"Sonorous, though, doesn’t even begin to describe the powerful, capacious and indefatigable singing of bass Kevin Thompson..." – San Francisco Chronicle
Die Entführung aus dem Serail – " Sonorous, though, doesn’t even begin to describe the powerful, capacious and indefatigable singing of bass Kevin Thompson the ferocious Klingon responsible for overseeing the prisoner. This is a role renowned for its punishing low notes and big gestures, and Thompson handled it all with terrifying ease."
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"...it would come as no surprise if the Metropolitan Opera recruited him immediately at the close of the concert." – CS Music Staff
Gala Concert – "Another standout performance among the men was operatic bass Kevin Thompson’s performance of McLin’s “Great Day” which captured the performers and the audience. The exceptional richness and penetrating resonance of his voice were so captivating, it would come as no surprise if the Metropolitan Opera recruited him immediately at the close of the concert."
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"...Kevin Thompson carried a tone that was robust and assured." – Bachtrack
Florencia en el Amazonas – “As the Captain, Kevin Thompson carried a tone that was robust and assured”
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"With his deep rich bass voice and his stature and presence, he was unquestionably the focal point for the entire production. " – Splash Magazine
Faust – “Kevin Thompson shone in the role of Méphistophélès. With his deep rich bass voice and his stature and presence, he was unquestionably the focal point for the entire production. In addition to his singing, which was exceptional, Thompson’s physical grace and ability to act and emote enabled him to create a character that was both terrifying and playful – setting the tone for the rest of the cast and providing a welcome hint of lightness to his demonic role.”
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“Kevin Thompson was an imposing Ramfis, the intolerable priest.” – Los Angeles Times
Aida – “Kevin Thompson was an imposing Ramfis, the intolerable priest,”
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"...displaying a phenomenal range and showed us his dramatic chops..." – Huffington Post
Aleko – “Kevin Thompson as the Old Gypsy told his tale well in the beginning of the opera, displaying a phenomenal range and showed us his dramatic chops by being simultaneously sad, angry, disappointed and ultimately resigned to his daughter’s death at the hands of Aleko.”