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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).
Last season, Thompson made house débuts with Washington National Opera as both Der Pfleger des Orest and Ein alter Diener in Elektra, with Fort Worth Opera as Il Re in Aida, and with Utah Opera as Sparafucile in Rigoletto. In concert, Mr. Thompson returned to Opera Omaha for an Opera Outdoors Concert with scenes as the title role in Boito’s Mefistofele; he sang with Roanoke Opera for their Opera Gems Gala Concert; he sang Verdi’s Requiemwith Eureka Symphony; and with Odyssey Opera, he performed Rachmaninoff’s Troika: The Old Gyspy in Aleko, Ivan in The Miserly Knight, and The Ghost of Virgil in Francesca da Rimini. Thompson also joined Bard Music Festival for two rarely heard works, singing Canterbury in Saint-Saëns’ Henry VIII and Pistol in Vaughan Williams’ Sir John in Love. Next season will see the acclaimed bass reprise his performance of Il Commendatore in Don Giovanni for Opera Colorado, as well as 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 feature in Mobile Symphony’s annual Christmas Concert. [read more...]
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.”
REPRESENTATIVES
Founder & President
Agent | Classical & Artist Promotion
Agent | Classical & Concert