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KEVIN THOMPSON
BASS
BIOGRAPHY
Praised by The New York Times as a “stentorian bass,” Kevin Thompson “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).
Last season saw the acclaimed bass reprise his performance of Il Commendatore in Don Giovanni for Opera Colorado, as well as sing the Duke of Verona in Roméo et Juliette for Dallas Opera, Osmin in Die Entführung aus dem Serail for Opera Grand Rapids, the King/Baobab/Hunter in The Little Prince with Utah Opera, Timur in Turandot with Fargo Moorhead Opera, and on the Mobile Symphony’s annual Christmas concert. He also joined The Atlanta Opera to sing Church Jenkins in a workshop of Forsyth County is Flooding as part of their new works festival, and he sang Father Truelove in The Rake’s Progress with Lakes Area Music Festival. This season, he’ll join Florentine Opera as the Bonze in Madama Butterfly, Opera Carolina as Sarastro in Die Zauberflöte, and Eureka Symphony for Messiah.
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CRITICAL ACCLAIM
"...his rich, powerful bass voice commanded attention, and it filled the hall..." – Utah Arts Review
Rigoletto – Kevin Thompson contributed an impressive performance as the hit man Sparafucile. From the moment he introduced himself in the first act, his rich, powerful bass voice commanded attention, and it filled the hall. His clear tone, flawless intonation and seamless melodic lines appeared effortless, as did the menace in his voice as he coolly carried out the murders he was paid to perform."
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"Thompson's rich bass conveyed the melancholy, the peasant nobility, and the sheer passionate broken-heartedness of the Old Gypsy..." – Classical Voice North Carolina
Aleko – "Then the beauty of the chorus trailed away for the vocal highlight of the Opera Carolina premiere, “The Old Gypsy's Tale,” performed by Kevin Thompson in a magnificent Charlotte debut. Thompson's rich bass conveyed the melancholy, the peasant nobility, and the sheer passionate broken-heartedness of the Old Gypsy more richly and beautifully than either the Chandos or the Deutsche Grammophon recordings I've referenced."
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"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.”