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American tenor Kyle van Schoonhoven, a Metropolitan Opera National Council Grand Finals winner, is a Wagnerian star on the rise. The New York Timespraises him for possessing a “gleaming, potent” instrument with a “steady, burnished sound.” Of a concert performance with the San Francisco Opera, the San Francisco Chronicle raved: “the title character’s prayer from the final act of Wagner’s Rienzi elicited a gleaming, potent performance from tenor Kyle van Schoonhoven, marked by suave phrasing and tonal freshness.”

Last season, Van Schoonhoven returned to The Metropolitan Opera as the Messenger in Aida and in Lady Macbeth of Mtsensk, covering Zinovy Ismailov. Kyle also sang performances of Apollo in Strauss’ Daphne with the American Symphony Orchestra and Britten’s War Requiem with the Prague Philharmonic Choir, in support of the crisis in Ukraine. This season, van Schoonhoven returns to the San Francisco Opera to cover the title role of Lohengrin and to The Metropolitan Opera to sing Walther in Tannhäuser. He also makes his Teatro Real Madrid début singing Eisslinger and covering Walther in Die Meistersinger. [read more...]


"...heldentenor star of the future..." – Opera West

– “Kyle van Schoonhoven, a heldentenor star of the future now… brought the house down with “Mein lieber Schwan” as Wagner’s Lohengrin. This is a rare and amazing instrument, combined with musicality and presence...”


"...a steady, burnished sound..." – The New York Times

– “...the budding heldentenor Kyle van Schoonhoven [showed a] steady, burnished sound"


"...totally in command of his voice..." – Seen and Heard International

– "Van Schoonhoven opened this concert … with four classic British songs. There was no doubting either the young tenor’s sincerity or his intentions...The final line of ‘Silent Noon’ was sung in a beautiful head voice and actual tears seemed to flow at the end of ‘The Salley Gardens’...If van Schoonhoven’s physique did not have you thinking ‘budding Heldentenor’, once he started singing Wagner there was no doubt. He performed ‘Rienzi’s Prayer’ with ease and power, hurling the tribune’s final plea to the Almighty into the auditorium like a javelin. In Lohengrin’s farewell to Elsa, ‘Mein lieber Schwan’, he found equally congenial turf, his singing no less ardent but a bit more subdued.... Van Schoonhoven, totally in command of his voice, embodied the tragic hero remaining stoic throughout."


"...bright, gleaming lyric-dramatic voice..." – Opera Lively

– “[Richard Strauss] was not known to be a fan of tenors and wrote some fiendishly difficult roles for them, Bacchus being no exception. Kyle van Schoonhoven was more than a match for his character’s punishingly high tessitura, his bright, gleaming lyric-dramatic voice never showing signs of strain or constriction.”


"...ringing clarity of tone..." – City Beat

– “Tenor Kyle van Schoonhoven was a standout, singing the murderously high role of Bacchus with ringing clarity of tone.”


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