Gregory Kunde

Tenor
Gregory Kunde

Regarded as one of the most accomplished singers on the international opera stage today, the American tenor Gregory Kunde appears regularly at the most prestigious opera houses around the world, working with conductors and orchestras of the highest calibre. Kunde’s achievements have been recognised with a number of awards, most recently ‘Male Singer of the Year’ at the 2016 International Opera Awards.

Acclaimed throughout his earlier career for his performances in French and Italian bel canto roles, Kunde has now established himself as a leading exponent of many of the Verdi roles and other such dramatic repertoire. Since his critically acclaimed debut as Verdi Otello at La Fenice in 2012, he has performed this signature role in Valencia, Genoa, Salerno, Florence, Turin, Tokyo, Osaka, Nagoya, Seoul, and São Paulo. Since moving into this repertoire, Kunde earned the unique distinction of being the only tenor in recorded history to perform both Rossini Otello and Verdi Otello in the same season (2014/15 and 2015/16).

Kunde’s recent highlights include a return to the Royal Opera House, Covent Garden for the title role Verdi Otello and Manrico Il trovatore, the title role Verdi Otello and Polline Norma at the Teatro Real, Samson Samson et Dalila and Renato Des Grieux Manon Lescaut at the Teatro Regio di Torino, Arrigo I vespri siciliani at the Palau de les Arts, Valencia, the title role Andrea Chenier at the Teatro dell'Opera di Roma and in Bilbao, Rossini’s Otello at the Gran Teatre del Liceu, Rossini’s Otello and Enée Les Troyens at the Teatro alla Scala, and Rodrigo La donna del lago at the Theater an der Wien. On the concert platform, recent highlights include Calaf Turandot with the Israel Philharmonic Orchestra under the baton of Zubin Mehta, Das Lied von der Erde at the BBC Proms, Verdi Requiem in Bilbao, the title role Verdi Otello at the Cincinnati May Festival, title role Peter Grimes with Sir Antonio Pappano at the Accademia Nazionale di Santa Cecilia and Faust La damnation de Faust in concert at the Concertgebouw Amsterdam with Charles Dutoit.

Highlights in the 2017/18 season include Jean de Leyden Le prophète at the Deutsche Oper Berlin, Don Alvaro La forza del destino at the Semperoper Dresden, Pollione Norma for the Opéra Royal de Wallonie and in Bilbao, title role Peter Grimes at the Palau de les Arts Reina Sofia, Valencia, Radames Aida at the Teatro Real, Madrid and Renato Des Grieux Manon Lescaut at the Gran Teatre del Liceu, Barcelona.

Kunde’s discography includes Berlioz Les Troyens at the Théâtre du Châtelet (Opus Arte DVD, Gramophone magazine’s ‘DVD of the Year’), Benvenuto Cellini (Virgin Classics CD, Gramophone’s ‘Opera Recording of the Year’), Benvenuto Cellini with Sir Colin Davis (LSO Live CD), and Verdi Otello from the Palazzo Ducale in Venice (Unitel DVD).

In 2017 he has released his first solo album, Vincerò! (Universal Music Group), a record that brings together some of the greatest opera arias by composers such as Verdi and Puccini.



www.gregorykunde.com

Date Last Edited: 18/10/2017
Not to be altered without permission. Please destroy all previous biographical material.
TURANDOT. Arena di Verona 2018

“Gregory Kunde displays all of his vocal and stylistic wisdom, creating a heroic Calaf who is also very attentive to dynamics and phrasing. The two arias were triumphant and Nessun dorma, received with great joy during the performance, was also the encore offered in response to audience clamour”. Francesco Lodola (Leri, Oggi, Domani, Opera)

“Equally good was Gregory Kunde -in the role of Calaf- who thanks to his past experience in bel canto gave a very refined and musically precise interpretation. A good actor, he showed no difficulty whatsoever during the performance and, even following an extraordinary execution of Nessun dorma, he made us prefer the encore performance of it, in which the famous final B emerged with even greater sonority. Andrea R.G. Pedrotti (L’Ape musicale)

“It seems that time does not pass for Kunde's Calaf. The tenor envelops the notes with phrasing and enviable breath control. The character is passionate, proud and has no fear of comparisons. Thanks to him an enthused audience shouted for an encore of Nessun dorma”. Maria Teresa Giovagnoli (MTG Lirica)

“Gregory Kunde uses his consummate professionalism to make his vocal qualities follow his intentions, presenting a hurt and tormented Calaf drawn marvellously by the tenor with a fine use of accent and phrasing. His singing is, therefore, always sweet and connected and each phrase sagely produced with the perfect intention and expressivity. The consequence of all this was the encore that the artist generously offered of the well-known Nessun dorma.” Silvia Campana (OperaClick)

“Splendid triumph for Kunde, as well, and no wonder. Born in 1954, the tenor from Kankakee, Illinois, began his career in 1978 and what a career it has been! It is simply amazing to think of what he has achieved now, at age 64: just over a month ago he sang Pollione in Bellini's Normain Bilbao and now Calaf, in Puccini's unfinished work, and always with unanimous opinions by critics and audiences, who adore him. The voice is firm and imposing in the high range, he has incredible breath control; obviously he sang the high variation, going up to the C in the final repetition. The pertinence of the phrasing is impressive, as is the performer's composure, always maintained with great nobility: a sign of rare intelligence and control in a tenor. The lover's vehemence was overflowing in the spectacular Nessun dorma, performed as an encore following the audience's frenzied response, to the surprise of the tenor himself, who confided to us that this was the first encore he has given in a performance in his entire career. Thank you Gregory, for many other very pleasant evenings!”. Andrea Merli (Impiccione Viaggiatore, I Teatri dell’Est e non solo)

POLIUTO. Gran Teatro del Liceu 2018

 “The character who gives title to the opera, Poliuto, was interpreted by Gregory Kunde. It is not a role within the reach of many tenors: the tessitura is complicated and there are some very exposed top notes. Kunde is one of the safest choices in this type of repertoire, and he brilliantly handled all the difficulties. His singing was as elegant as always, and I must say that it was a real luxury to have him as Poliuto.” José M. Irurzun (Seen and Heard International)

“From the height of his 64 years, Gregory Kunde –who recently sang the role of Jean de Leyde (Le Prophète, by Meyerbeer) at the Deutsche Oper Berlin– offers us a very fine Poliuto, and is always willing to take on the difficult parts of the score, making them his own with new variations. He has a perfect command of the grand scene in Act I, which he finishes with a remarkable high C... thunderously applauded by the Catalonian audience!” Emmanuel Andrieu (Opera Online)

“Gregory Kunde returns to a role with which he had already left a great impact back in 2010. The voice of the American tenor has become broader and he very skilfully blends the insolence of the highest notes with the richness of bel canto, adding exciting variations” Juan Michel Pennetier (Opera Forum)

“In the title role Gregory Kunde once again showed that he is a vocal phenomenon, truly out of this world. After his recent debut in Berlin with Meyerbeer's Le Prophéte and before launching into Peter Grimes at Les Arts, Kunde returned to a role that he had not sung for almost a decade, since the performances in Bergamo in 2010, when he sang the role for the first time. Thoroughly familiar with this repertoire, his style is flawless” Alejandro Martínez (Platea Magazine)

"The American tenor sang the very challenging role of Poliuto with confidence, the perfect amount of ornament and transparent phrasing…” Pablo Meléndez-Haddad (ABC)

“Gregory Kunde triumphed, thanks to his unmistakable eloquence and admirably noble phrasing…” Xavier Cester (Ara cataluña)

UN BALLO UN MASCHERA. Programación Lírica Amigos de la Ópera de A Coruña 2017

“We are not going to discover Gregory Kunde at this point in the story. Without a doubt the greatest and most complete tenor of the 21st century so far. Only his excellent technique allows him to maintain such a demanding schedule and the difficult roles he undertakes. He made a magnificent Riccardo who grew, vocally, as the performance progressed. His voice was well placed and delivered, with perfectly rounded high notes. He gave an outstanding interpretation of “Ma se m’è forza perderti …” and the opera's gorgeous duet “Non sai tu che se l´anima …” in Act II (…).” Daniel Diz (Opera World)

“The American tenor did away with any doubt that may have lingered about the state of his voice, with a fresh and lusty timbre, brilliant at the high end, eluding the elasticity difficulties that Riccardo's role has at the beginning of the opera and showing great strength from “Teco io sto” forward, when the most heroic facet of the character fits perfectly with the singer's current style. Kunde knows the role, which makes it that much easier to accentuate and speak with intention. Impeccable”. José Luis Jiménez (Ópera Actual)

“Especially noteworthy was Gregory Kunde's vocal protagonism, both in his arias and in the duets and concertatos so abundant in the work.” Julian Carrillo (El País)

“We expected great things from the renowned tenor Gregory Kunde, whom the role of Riccardo fits like a glove. At the height of his faculties, just as predicted, the American singer was perfect in his acting and impressive in his singing, raising the temperature of the performance with his interaction with the rest of the cast.” Teresa Adrán (Platea Magazine)

“Kunde gave a special shine to the opera season's kick-off event. Gregory Kunde, Riccardo, displayed a brilliant voice, almost always beautiful, squillante in the high notes, as early as his first fragment, La rivedra nell’ estasi, although I would perhaps ask him for more refined legato; effusive, even moving, in the duet of the second act, the high point of the work, and in the renunciation number, Ma se m’è forza perderti, and always exact in the dialogues and recitatives.” Antón de Santiago (La Voz de Galicia)

"To see in the final curtain call that Gregory Kunde was truly touched –he admitted as much to us after the event– when he saw that the organisational and artistic effort had obtained such a warm response from the audience is indicative of his deep commitment to the organisation. Little can be said of Gregory Kunde that has not already been said a thousand times. We are before an extraordinary tenor, an imposing voice even with the fatigue that comes with age. Kunde was better in the second and third acts, in which he brilliantly displayed a medium-high register that was full of character, technical know-how and interpretive capacity.” Aurelio M. Seco (Codalario)

ANDREA CHÉNIER. ABAO 2017

- “The U.S. born tenor Gregory Kunde had already made quite an impression in Bilbao two years ago with a double performance of Cavalleria Rusticana by Pietro Mascagni (1863-1946) and Pagliacci by Ruggero Leoncavallo (1857-1919). Following his debut in the role of Andrea Chénier last month at the Teatro dell'Opera di Roma, he has once again given audiences robust and refined singing, impeccable phrasing and perfect musicality, from his Un dì all’azzurro spazio (one of opera's most beautiful arias) to the final apotheosis, with his Come un bel dì di maggio in between”. Frederik Verbeke (Eklektika)

- “At this point speaking of what has been called 'the Kunde miracle' is rather trite and repetitive. Miracles do not happen without work and effort and the American tenor has demonstrated that he has plenty of both. But what continues to be admirable is the apparent ease with which he takes on new 'tenoresque' challenges and adds, to an already long list of roles, one with such appeal as Chénier. Hearing him in the performance I am referring to one would think he has been singing the role for years, and that he has, after all that time and countless performances, given it his own personal stamp. But no. Kunde made his debut in the role this very season. Amazing. He takes on Chénier in a classical, canonical manner, with utmost commitment and no fear. Every single one of the high notes, the touchstone of the role, was perfectly placed, with exact projection and elegance, all of them sounding clear and limpid every time. He does not disappoint in the other registers either, although it is only fair to point out that a few notes sounded rather fatigued in the more piano sections. But starting with a splendid "Un dì all'azzuro spazio" and moving to the grand duet of the second act and then "Come un bel dì di Maggio" and all the way through to the tremendous ending, his work was impeccable. Bravo, maestro”.  Javier del Olivo (PlateaMagazine)

- “Andrea Chénier was Gregory Kunde, who in this most recent and surprising stage of his career is taking on roles as a spinto lyric tenor and sometimes even as a clearly dramatic one. The American singer's voice was a perfect match for the requirements of a part in which he appeared to move very comfortably. Even considerably better than in his recent successful appearances in Spain, characterised as Otello, Pollione and Arrigo, which I have had the good fortune of seeing. His great voice projection and warm phrasing prevailed with naturalness over a middle and lower register that was stronger than on the previous occasions and also more homogenous.  José Amador Morales (Codalario)

- “Kunde's presence and vocality on stage are tremendous, with an upper range that is powerful and ringing and a line of singing that is noble and expressive. All of this, along with a truly noteworthy dramatic dedication makes his Chénier convincing and moving, and absolutely thrilling to the audience, especially in his first act aria and in the duet with Maddalena in the second act”.  Jesús Aguado (Mundo Clásico.com)

- “Gregory Kunde gives life to the charismatic poet Chénier. The American tenor sings the role with impressive technical ability and uninterrupted emotion that even reaches the phrase endings, which demonstrates the great care the artist devotes to the interpretation required by each of his roles”.  Susana Santolaria (Act Teatro Bilbao)

-  “We find once again, to our great joy, the electrifying duo formed by Gregory Kunde and Anna Pirozzi. With the memorable Roberto Devereux performed on this very stage less than two years ago, the directors discovered the great appeal of bringing together this U.S.-born tenor and the Italian soprano. The vocal arrogance, the impetuous temperament and the musical sense that the artists have in common never fail to bring the audience to their feet when the two voices sound together. The tenor's sense of security continues to arouse the same admiration, especially when he takes on a clearly difficult score, a score that demands the perfect blend of tenderness and courage. Whether as a poet, an ardent lover or a bold revolutionary, his Andrea Chénier shines with elegance and grace, and with the brilliant health of a voice that appears to have no limits. We could mention any one of his arias, but we were particularly dazzled by the third act with a "Si, fui soldato" brimming over with authority”. Nicolas Griennenberger (Classiquenews.com)

- “And nothing more can be said about Kunde and Pirozzi, a pair that appears regularly on this stage and whose vocality and interpretation never disappoint”.  Nora Franco Madariaga (Gara)

ANDREA CHÉNIER. Teatro dell’Opera di Roma 2017

"...an extraordinary cast, dominated by the poet embodied by Gregory Kunde, whose voice seems to have gained even greater plenitude. A quite well-supported middle register and sharp high notes transmit a power and a fluidity that dazzle listeners. As always, his singing is careful, his phrasing impeccable and his musicality perfect in this role that has at times been sacrificed by less refined tenors attempting to show "muscle". Although now past the age of a young gallant, the American tenor is able to create an attractive and believable character with the help of fine stage directing: yet another challenge has been met by this singer in his multi-faceted career." Jean Michel Pennetier (ForumOpera)

"… the main role was entrusted to a true gentleman: Gregory Kunde, a heartrending tenor, devotes himself fully to the role and is not prone to banal acts of extraversion. His singing is completely dedicated to the words and phrases, like a true poet. Kunde has been acclaimed as a magnificent tenor. It is quite a surprise, unprecedented, if we consider that this was his debut in the role. Also, it seems incredible that a tenor who started out in the Rossini repertoire could have, after some years, acquired the vocality of a verismo tenor; that is, robust and declamatory. The medium-low register must be found more in the interior of the words than in the fibre of the singing. As his voice becomes louder it takes on a heroic tone, it grows in intensity and thickness, and he accompanies it at all times with aristocratic phrasing and finely-wrought text." Carla Moreni (Il Sole 24 ORE)

"Gregory Kunde sings extraordinarily well in the principal role: the robustness that his voice has acquired over the years and his uniform register, the way he rises to high notes and the clear timbre he still has make him ideal for interpreting the role of the unfortunate poet. The famous Improvviso ‘Un dì all’azzurro spazio’, which sounds and shines with a smooth, pure timbre, sparks applause immediately. He knows how to give delicate accents to the two duets with Maddalena, especially the second, thanks to their Verdian and Wagnerian writing, and also to his aria of apology (‘Sì, fui soldato’). Roman audiences offer him a big ovation, thus confirming his personal triumph." Stefano Ceccarelli (L’ape musicale)

"The protagonist, Gregory Kunde, is one of very few tenors who, after starting a career with a specialisation in bel canto and light lyric roles, over the years has been able to cultivate a dramatic vocation. This has allowed him to explore, like few others have done and with great intelligence, the entire repertoire, with many outstanding successes. His debut as Chénier shows a great vocal and interpretative richness which the audience appreciated enormously." Antonello La Rocca (Roma Italia Lab)

"With regard to the cast of artists, the performance of Gregory Kunde in the title role was a precious pearl. Despite being 63 years old and having a very different repertoire behind him, he successfully gave the young poet Chénier strength and character in all registers, especially the high ones, which were firm and rich." Sara Feliciello e Paolo Mascari (Ieri, Oggi, Domani, Opera)

"... Gregory Kunde debuts in this role singing a very moving ‘Un dì nell’azzurro spazio’. What can be said of the everlasting Kunde? He is one of the most versatile singers of our times; many years have passed since he performed in I Puritani in 1987 and, although his repertoire has changed a great deal, he is still as fresh as ever. He produced a very beautiful B in the final duet, but even more beautiful was the duet of the second act with that ‘Ora soave’ in which he goes beyond F and, with a slight Corellian-type portamento, slides up to A flat with incredible naturalness. The audience cannot help but applaud. It is easy to perceive the tranquillity of his singing, his total concentration on the text and how he lets the music do the singing, so characteristic of those who have truly dedicated their lives to this art.” Chiara Marani (Nel fiero anelito)

"Kunde has performed some of the most beautiful melodies of Italian opera; something for which critics were unable to forgive Giordano for years. There was a time in which some tenors sang them at full strength, as if they were the outbursts of a sermonizer instead of the melodies of a (pre)romantic poet, that is, deliberate, dreaming, diffused and even sombre. Gregory Kunde sang them with a perfect musical line in terms of phrasing, the range of carefully measured dynamics and the homogeneity of registers." Mauro Mariani (Il Giornale della musica)

"With Chénier, Gregory Kunde adds a new role to his already extraordinary career and once again hits the bull's eye with his tenor's timbre and the moderation selected for the poet." Pierachille Dolfini, (Avvenire)

"Gregory Kunde allows all the passages of his voice to be perceived and executes a marvellous ‘Improvviso’ sustained with the same strength as the ancient arches. He dialogues well in the second act, sings ‘Ora soave’ magnificently and reaches his peak in ‘Fui soldato’. He saves his energy during ‘Come un bel dì di maggio’ (inevitable, due to the lack of an intermission) and he sets off fireworks in ‘Vicino a te s’acqueta’." Giacomo Agosti (I Teatri dell'Est e non solo...)

SAMSON ET DALILA. Teatro Regio di Torino 2016

"For the role of Samson the Teatro Regio has chosen Gregory Kunde. After the Otelo of two years ago, the American singer takes on another work that is very demanding at both the vocal and the stage performance level. Now past sixty, Kunde shows that he is a singer with extraordinary class and vocal intelligence. He strives to create an authoritarian character, in terms of stage performance as well, but does not become hieratic or neglect the human drama. This makes the recognition of his love for Dalila in the second act especially expressive and tormented: a concession to a humanity of sentiments that forebodes guilt." Ludovico Buscatti (OperaClick)

"Gregory Kunde, Samson, proves yet again that he is an outstanding tenor, with a full and supple voice, capable of performing the most demanding of roles: a true Heldentenor who, without giving priority to the quest for spectacular high notes and always giving more weight to the quality than to the quantity of sound, manages to express the personal anguish of the biblical hero, shifting from the burning passion of the duet with Dalila to the extreme pain of Vois ma misère, hélas!; all with perfect control of intonation, which translates into fabulous high notes and a sound that is full and burnished and at the same time brilliant”. Giuliana Cutore (BelliniNews)

"The cast has also been sensationally good, beginning with the presentation in Italy of Samson by Gregory Kunde, who just debuted in this role in Valencia. The tenor surprises listeners a little more each day with the skill and ductility of his singing; besides being totally convincing in the early acts with a gallant execution, his intense lyricism in the first scene of the third act is also very moving." Andrea Merli (I Teatri dell’Est e non solo)

"At his sixty-two years of age, Gregory Kunde, with the solidity of his singing, the intensity of his interpretation and the heroicity of his phrasing, becomes Samson the moment he steps on stage. The singer in him strengthens and fades with no hesitation whatsoever, the musician in him respects the score with impeccable aplomb and the performer in him, always attentive and involved, allows to forget the complication of some vibratos. Also priceless is the contrast between the insolent exhalation of God's chosen one in the first act and the stifled affliction of a man humiliated and enchained, with which he sustains the lament and prayer introducing the third act". Andrea Dellabianca (Connessi all’Opera)

"In Gregory Kunde and his enviable phrasing Samson finds determination and nobility of voice. A voice that still offers enormously effective numbers, and interpretation that is coherent and intense". Maria Teresa Giovagnoli (MTG Lirica)

"At her side, Gregory Kunde is a Samson of surprising musicality and projection, with a triumphant high range. More surprisingly, this central tessitura does not seem to be a problem for him at all, as if his voice were maturing even more". Jean Michel Pennetier (ForumOpera)

CONCERT. PAMPLONA'S AUDITORIO BALUARTE. 2016

 "The American tenor has shown that he is in fine form and he sang with verve throughout the evening. Particularly outstanding was the Dio mi potevi scagliar passage from Verdi's Otello, where he shined in a special way, just as he did a few days ago on the stage of the Teatro Real". José M. Irurzun (Opera World).

“If the audience ended the recital with a standing ovation, applauding madly, it was because all of the performers gave an excellent representation of opera. (…) [The singer] especially in the second half, from that fullness of sound in the high notes and with devotion and a generous heart, moved and touched all present with his Pagliacci (Leoncavallo) and his final Otello (…)”. Teo Baldos (Noticias de Navarra)

“Finishing a recital with the audience on its feet, thrilled, after a collosal Nessun dorma. This would surely be the dream of any self-respecting tenor. Gregory Kunde – who was featured on our July cover – did it last Thursday in the Auditorio Baluarte in Pamplona, after showing us everything he's got in terms of repertoire and his current instrument, which has been wrought with a high dose of tenacity, a proven dedication in technique and a few drops of miracle. (…) But the American tenor can rest easy: he has earned himself a place in opera history. And not just for being the only tenor in history to sing, in the same season, both Otellos, the one by Verdi and also the one by Rossini. Kunde is much more than an outstanding tenor: his biography stands out as a lesson in humanity. He is also an unequivocal example of the American dream; a self-made man, one who has worked hard for everything he has achieved. (…) the concert was deserving of applause from start to finish and the aforementioned standing ovation after the Nessun dorma offered at the end was nothing but confirmation. Alejandro Martínez (Platea Magazine)

IDOMENEO. Palau de les Arts. 2016

“This Idomeneo is sung very well. More than anyone else Kunde is memorable and moving. He may not be the typical Mozart singer, according to the canons, but he has an extraordinary way of phrasing and modulating that truly reaches listeners. There are artists who have that indefinable something that makes one never tire of seeing them and hearing them on stage and that makes each one of their interventions seem too brief. It is a mixture of mastery, the ability to communicate and charisma that makes them unique”.  Joaquín Guzmán (ABC-Valencia)

“The production has a cast of very skilled singers, led by the tenor Gregory Kunde in the title role (it is interesting to recall that this was the only Mozart role sung by Luciano Pavarotti in his day)”. Roger Alier (La Vanguardia)

“The casting is excellent in the main quartet. Gregory Kunde shines as Idomeneo”.  Jorge Fernández Guerra (El País)

“The American tenor Gregory Kunde showed great enthusiasm as Idomeneo, the King of Crete who rebels against the fate he had brought upon himself and that leads him to question the role ofthe gods because they "decide that a father can kill his son".  Joan Castelló (EFE)

“In the title role, in Valencia for the first time after his injured Samson, the American tenor Gregory Kunde showed that vocation and valour are capable of anything. He arrived here following his performance of Verdi's Requiem in Bilbao and was called away during this run, also, to cover for Francesco Meli in the Luisa Miller staged by Teatro Real. Along with La clemenza di Tito and to a lesser extent Mitridate, Idomeneo is the third of the Mozart roles that Kunde maintains in his repertoire today, with the well-known transition of his instrument towards the more dramatic Verdi, reaching even verismo. With co-ordinates like these, the flexibility of his singing when faced with Mozart's meticulously-written vocal parts is surprising. In truth, it should not surprise us so much that the same tenor is capable of singing in the space of barely a month parts as distant as Aida's Radames and this Idomeneo”.  Alejandro Martínez (Platea Magazine)

“Vocally, the performance of Gregory Kunde as Idomeneo is worth highlighting. For the first time in an opera at Les Arts, audiences had the chance to enjoy the Kunde of the bel canto tradition; up to a few years ago, this tenor was a specialist in the late 18th and early 19th century repertoire. In this regard, his command of the style is absolute and it is amazing that even after taking on a heavier repertoire his voice maintains its flexibility; also, thanks to his never-flagging technique, he can shine in all of the technical demands of a role like this, without forgetting his stage presence and expressive capacity”. César Rus (Las provincias)

“We had Gregory Kunde in the leading role at Les Arts. The American tenor is an expert in bel canto who, however, is also capable of taking on Verdian roles and similar ones. It is not common to be able to handle both repertoires at the same time. But on this very same stage we have heard him in Otello, La forza del destino, Samson et Dalila and, now, Idomeneo, where Mozart puts the bar very high in terms of agility and melodious beauty. Not only does Kunde meet the technical requirements, he goes all out, offering heartfelt interpretations, with a warm timbre and fantastic projection”. Rosa Solà (Culturplaza)

MANON LESCAUT. ABAO-OLBE 2016

“The tenor Gregory Kunde is again up to his old tricks, that is, outstanding verismo, in a repertoire in which his voice expands joyfully and can reflect his beautiful squillo in the high range. He rose to the occasion and responded perfectly to the soprano, with all the romantic passion called for in this opera, thanks to his dramatic singing, full of strength”.  Nino Dentici (Diario El Correo)

“Kunde is a vocal spectacle, a force of nature, a tenor who seems to never tire. (…) He hits the high notes with the steel of a sword and he sings the role of Des Grieux with good singing line, vibrant accents and an elegance that does not elude passion”. Asier Vallejo (Diario Deia)

“Many have spoken of the boldness and the dedication that Gregory Kunde shows on stage in this phase in which he is rapidly incorporating new roles to his long and fruitful career. If last year he debuted, on this very stage, as Turiddu and Canio, on Saturday he sang for the first time the role of Renato des Grieux in Manon Lescaut (…). In the second act, in his duet with the soprano, sparks began to fly and we started to hear that voice of his that we so admire. But in the third and fourth act was when Kunde demonstrated, once again, that he is an exceptional singer, thanks to the freshness of his instrument that runs with amazing ease in the highest notes of the range. Especially moving was his Ah! non v’avvicinate! where he maintained the vocal tension in a very difficult scene with no apparent effort. It was the fourth act, the most touching and genuinely Puccini of the entire opera, where the two main characters gave the best of themselves, creating with their singing and acting all the emotion called for in the libretto and the score”. Javier del Olivo (Revista Platea Magazine)

“Gregory Kunde continues to make history and we have the opportunity and immense fortune to be witnesses of his achievements. New role, new debut and new irrefutable success by the American singer (…) Des Grieux is a perfect match for the tenor, as the role allows him to offer a portrait that is fresh, passionate and vocally lusty. It is a pleasure to see him sing very complicated passages with great ease but not for that reason with any less devotion and generosity. The role is devilishly challenging. In the first act alone Puccini gives him two arias and two duets that are highly demanding. Kunde’s high register is pure gold, as he is capable of sustaining tessituras that move constantly between the F and the A with impeccable musical results and letting out true lashes of the whip in the numerous B flats that fill the staff as well as in the less abundant B (spectacular in the "con te portar dei solo il core" and in the "guardate, pazzo son"). The oppure of the C above high C in the fourth act ("ah Manon") was one of those sounds worth remembering. But Kunde does more than just offer high notes: his musical intelligence for dynamics is undeniable, with varied phrasing and total absence of monotony, with a middle range having an attractive and unmistakeable colour and a great imagination that allows him to dive into the text with an intention that leaves no one indifferent”. Rubén Martínez (Revista Codalario)

OTELLO. Teatro de la Maestranza 2015

“Gregory Kunde executed his starring role to that difficult point in which feelings must be taken to their maximum distortion… His command of the stage and his knowledge of his vocal possibilities allowed him to sail through the love duet of Act I…”. José Antonio Cantón (El Mundo)

“Gregory Kunde is probably the best Otello that an opera house can find today. His Verdian voice has energetic phrasing and an enormous facility for middle and low registers, which enabled him to reach the end of the performance with all of his capacities still intact. The brilliance of his voice and his technique for modulating in forte rounded out his interpretation… ”. Ismael G. Cabral (El Correo de Andalucía)

“Gregory Kunde offers a complex Otello… and his vocal quality is beyond any doubt throughout the representation. His intensity never falters and he shows the torment of jealousy and his inner battle clearly. His scenes with Desdémona (a splendid Julianna Di Giacomo) are outstanding, both vocally and dramatically”. Alejandro Reche Salas (XYZ noticias)

“The American tenor is enjoying a “second” career that inspires admiration and respect. Otello is one of the roles that best define his personality on stage: boldness and sensitivity. Kunde brings us a very human Otello: we could even say, if the character allowed it, that he is sensitive. Irrational and jealous, yes, but above all torn by inner doubts, never brutal and distant, always vulnerable... His Dio! mi potevi scagliar tutti i mali  was truly memorable, for its impeccable phrasing, for everything he conveyed during that wrenching moment”. Javier del Olivo (Revista Codalario)

SAMSON ET DALILA. Palau de les Arts. 2016

“Gregory Kunde was making his debut in the role of Samson, a true test of fire for a tenor because of its dramaticism (…). Vocally he once again broke the mold, performing as a first-class Samson, especially in Act III in which his voice flowed with the role’s true weight and dramatic colour. Most definitely, the tenor expands his legend once again.” César Rus (Las provincias)

“The misfortune (his injury) is largely forgotten in light of this great tenor’s miraculous vocal qualities. Kunde does not do a classically balanced Samson like the one given by Domingo; he leans instead toward the heroic and suffering aspects, for which his impressive voice is perfect. When Kunde sings there’s a party in the air, from the beginning to the end. Let’s hope it lasts many years.” Joaquín Guzmán (ABC_Valencia)

“The performance of the American tenor Gregory Kunde was certainly worthy of praise because even performing with an injury he had more than enough vocal power to be an excellent Samson. (…). The physical limitation did not prevent him from showing off an intense and powerful voice that reached the depths of Samson, the hero and saviour of the Israelites but who ended up being conquered by Delilah’s charms. The audience rewarded his determination and dedication with enthusiastic applause afterwards.” (Agencia EFE)

“Gregory Kunde marks another milestone. The American tenor, who is 61 years old and has reached the top during the later stages of his career, interpreting 15 ambitious new roles in just three years, successfully debuted as Samson on Tuesday at the Palau de les Arts de Valencia (…). Kunde’s mobility problems were no impediment to him unfurling his precise timbre, his musicality and his vocal power.” César López Rosell (El periódico)

“Gregory Kunde interpreted a valiant and musically generous Samson (…). A Samson with the aesthetics of the Hulk was able to offer an expressive palette that went full circle, from the initial recitative (…) with a vocal strength that was measured and always plethoric in all registers, to the most lyrical and intimate moments of the duets with Delilah and especially in the last act’s recitative with chorus, “Vois ma misère, hélas! vois ma détresse!”; an excellent example of phrasing and musicality.” Nicolás Piquero (OperaWorld)

“Gregory Kunde demonstrates with each new debut his absolute love for and devotion to his work, with such a confident vocal and dramatic technique that it seemed he had been singing the role for years, although he has done only a handful of performances. An impeccable musician, the writing of this Samson suits Kunde’s current vocal characteristics perfectly, with long legato lines in which he displayed a fiato worthy of respect and also a first high note that he nailed and then gave a round centre which was very attractive, with hints of spinto.” Rubén Martínez (Revista Codalario)

“Gregory Kunde has debuted as Samson in Valencia and again he has done it with high marks, approaching the extraordinary (…). What really stands out is how incredibly well his voice matches the part (…), he gives Samson a voice that is lyrical yet intense, he is flawless in his knowledge of the style and in his work with the text.”  Alejandro Martínez (Platea Magazine)

ROBERTO DEVEREUX. Teatro Real 2015

“So, the performances of Devia and the tenor Gregory Kunde (as Devereux, the Count of Essex who toys with the heart of the aging queen) managed to extract oil where there seemed to be nothing and they were applauded with passion….” Darío Prieto (El Mundo)

“…tonight Gregory Kunde, fully recovered - to the delight of bel canto fans everywhere, and Mariella Devia, a splendid performer of this kind of opera, inspired from the very first cantabile plenty of emotion and bravos… Devia, a veteran in works by Donizetti, and Kunde, one of the world’s best tenors and who has returned to the stage after battling a serious illness, were excellent in their roles and succeeded, in each and every scene, in moving an audience that was in return generous with applause and bravos”. Concha Barrigó (EFE News Agency)

“Gregory Kunde as Devereux demonstrated that his singing is still round and luminous, truly delicate despite the logical strains of his age, which is 61. And it enchants listeners. The poet Rubén Darío said it long ago: Old age, divine treasure... Or was it youth? No matter. Can we not be young after sixty? Kunde showed that the answer is yes. His phrases in the duets with Elisabetta and Sara convey warmth and lyricism, bursting with what can be considered the essence of opera from the moment he makes his entrance with Donna reale. Immaculate projection, Talevi has him sing his aria from the floor, with somewhat fanciful phrasing (Bagnato il sen…) and clean, polished high notes. The best of the evening”. Gonzalo Lahoz (Codalario)

“Gregory Kunde… sang with supreme skill” Luis Gago (El País)

“Gregory Kunde… took the stage with a superb voice”. , Alberto González Lapuente (ABC)

Next Events
Arena di Verona

TURANDOT

Saturday 30 june 2018 Gregory Kunde
Thursday 5 july 2018 Ruth Iniesta
Friday 13 july 2018 Ruth Iniesta

Arena di Verona

AIDA

Thursday 2 August 2018
Sunday  5 August 2018
Tuesday  7 August 2018

Teatro La Fenice

IL BARBIERE DI SIVIGLIA

Sunday 19 August 2018
Friday 24 August 2018
Sunday 26 August 2018
Wednesday 29 August 2018
Thursday 27 September 2019
Thursday 4 October 2018
Saturday 6 October 2018
Saturday 20 October 2018
Wednesday 24 October 2018

Japan Tour (Rome Opera)

MANON LESCAUT

Sunday 16 September  2018
Thursday 20 September 2018
Saturday 22 September 2018

Oviedo

CONCIERTO con la Oviedo Filarmonía

Saturday 27 October 2018

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