ACCLAIM ARCHIVE

LA CENERENTOLA – Rossini, Lisner Auditorium -Washington Concert Opera

“Her prince charming was Prince Ramiro, sung by tenor Kenneth Tarver with warmth and quiet power and with a voice that was remarkably consistent throughout its wide range. Whether as the prince himself or impersonating his valet (as he does through much of the opera), Tarver maintained an imposing dignity and a presence in which even a raised eyebrow commanded attention”.
Joan Reinthaler, Washington Post, May 2010
 
“Kenneth Tarver brought a light, uncommonly sweet tenor and often exquisite phrasing to the role of the Prince”.
Tim Smith, The Baltimore Sun, May 2010
 
 

IDOMENEO – Mozart, Théâtre Royal de La Monnaie -Bruxelles

“…Quant à Kenneth Tarver (très Obama, pour le coup), il se révèle le plus mozartien de la bande, campant Arbace en directeur de com’, élégant et attentif”.
Martine D. Mergeay, lalibre.be, April 2010
 
“Trop souvent sacrifié, le rôle plus modeste d’Arbace, opportunément réhabilité par la mise en scène, trouve en Kenneth Tarver une incarnation parfaite”.
Harry Halbreich, asopera.com, March 2010
 
 

L’ITALIANA IN ALGERI – Rossini, Teatro Municipal – Santiago de Chile

“Kenneth Tarver fue un solvente Almaviva hace algunos años y ahora no fue menos como Lindoro. La voz es segura, y la elección del aria alternativa “Concedi amor pietoso” para el segundo acto no hace sino lucir sus mejores atributos: fraseo de aliento largo, diestra ornamentación, y agudos templados”.
Cristóbal Astorga, tiempodemusica.com.ar November 2009
 
“Kenneth Tarver, como Lindoro, luce figura y estilo en escena, aparte de canto fluido y agudos solventes”.
Juan Antonio Muñoz, El Mercurio.com October 2009
 
 

IDOMENEO – Mozart, CD reviews:

“Kenneth Tarver, the tenor singing Arbace is a revelation. Singing with gorgeous tone, solid musicmaking, elegant of line his agility in rapid passagework is absolutely thrilling and the tone seems to be one of those voices that truly sing “from the heart.” I look forward to hearing a lot more from this young singer”.
Paul Padillo, Sharkonarts.blogspot.com, September 2009
 
“Kenneth Tarver provides nice contrast in the role of Arbace, with his sweet, youthful voice and handles his two lengthy arias with poise and elegant phrasing”.
Judith MALAFRONTE, Operanews online, August 2009
 
“Kenneth Tarver gets to sing more of Arbace’s music than anyone in 200 years. The excellent news is that his three arias are more interesting than their reputations would suggest, and Tarver sings them eloquently”.
Lawson Taitte, Dallasnews.com, July 2009
 
“Kenneth Tarver canta lodevolmente le due arie di Arbace, circostanza piuttosto rara”
Alberto Mattioli, Studio musica, July 2009
 
“Seul le merveilleux Kenneth Tarver, dans des airs échappant à l’exégèse, chante tout son soûl – et comme il chante bien!”
Piotr Kaminski, Diapason, June 2009
 
“As has not often been the case in the history of Idomeneo on records, secondary roles are cast from strength. Singing Arbace (which, contrary to casting traditions, is emphatically a tenor role, as is proved here), American tenor Kenneth Tarver brings the same security, virtuosity, and tonal beauty he brings to bel canto roles, singing Arbace’s ‘old-fashioned’ divisions with great panache. Judging from the music Mozart composed for Arbace and the stature of the singer who first performed the role, Arbace requires a singer who could, should fate dictate, be called upon to sing the title role. Mr. Tarver is just such a singer, following his Don Ottavio in Mr. Jacobs’ Don Giovanni with a performance of equal polish and grandeur. Should Jacobs ever record Die Entführung aus dem Serail, what a magnificent Belmonte Mr. Tarver could be”.
Joseph Newsome, Voix des Arts.blogspot.com, June 2009
 
“Tenor Kenneth Tarver as Arbace, given both of his arias, is animated and accurate in coloratura and alert in his recitatives”.
Robert Levine, Classic today.com
 
“con la presencia de Kenneth Tarver como un Arbace de lujo”
Rafael Banús, El Cultural.es, June 2009
 
 

LA GAZZA LADRA – Rossini Festspiel, Wildbad

“Die beiden weiteren um sie werbenden Männer übertreffen sich an Belcanto-Wohllaut. Kenneth Tarver, von seinen europäischen Anfängen in Stuttgart vor allem als edler Mozart-Sänger noch in bester Erinnerung, hat sich inzwischen auch die Extremhöhen Rossinis so erarbeitet, dass sie ihm locker und mit ungebrochener Kultiviertheit über die Lippen kommen. Eleganz und feine Phrasierung prägen seinen Einsatz als Kriegsheimkehrer Giannetto”.
Udo Klebes, Der neue Merker, July 2009
 
“With recent releases of recordings of the title rôle in Händel’s Joshua (Accent), Ferrando in Mozart’s Così fan tutte (Sony Classical), and Mozart and Salieri arias (MDG) to his credit, Detroit-born tenor Kenneth Tarver is finally receiving some measure of the widespread recognition that his talent merits. His extraordinary voice has been heard in the world’s great opera houses, but his singing as Giannetto in this performance of La gazza ladra spurs curiosity about why his name is not synonymous with bel canto everywhere in the world in the way that Tito Schipa’s was seventy-five years ago. A dashing hero on stage, Tarver’s singing combines a beautiful timbre reminiscent of Cesare Valletti’s with dizzying virtuosity that enables him to conquer Rossini’s most throat-stressing passages with flabbergasting ease. Indeed, in this performance he sings Rossini’s volleys of coloratura like a great violinist playing Vivaldi’s most insanely difficult music for that instrument, every note in rapid-fire passagework given its due and every pitch placed with zinging precision.”
VOIX-DES-ARTS May 2015
 
“…und der als Kriegsheimkehrer Giannetto mit exquisiter Rossini-Stilistik aufwartende Tenor”
J.M.Wieneke  OPERNGLAS October 2009
 
 

FRA DIAVOLO – Auber, Opéra-Comique Paris / Opéra de Wallonie Liège

“Eigentlich war man ja Sumi Jos wegen zu diesem allzu selten gespielten Fra Diavolo nack Liege gekommen,…Schlussendlich hinterliess aber der Titelrollensänger den besten Eindruck: Kenneth Tarver. Mit hellem, obertonreichem, fast französisch timbiertem Tenor, mit Koloraturgewandheit, mühelosen Spitzentönen und einer attraktiven Bühnenerscheinung brachte er alle Voraussetzungen für diese schwer zu besetzende Partie mit – und empahl sich zugleich für weitere Opéra-comique-Aufgaben wie Boieldieus Dame Blanche oder Adams gefürchteten Postillon von Lonjumeau.”
A. Laska Opernglas July 2009
 
“Kenneth Tarver est idéal aussi d’élégance scénique et vocale, dans ce rộle typique de ténor d’opéra-comique français où le charme le dipute à la vaillance.”
Gérald Condé Opéra Magazine May 2009
 
“Le ténor américain Kenneth Tarver, voix imposante dans un registre étonnamment large et interprétation pleine de malice, s’impose vocalement et dramatiquement.”
Nicole Duault www.altamusica.com January 2009
 
“La voix elle-même est une voix mixte chaleureuse, généreuse, ronde, assez splendide, typique des ‘voix noires’ dans ces emplois…avec une émission haute, de technique antérieure assez italienne, mais aux sonorités de velours”
David Le Marrec, www.operacritiques.free.fr February 2009
 
“Kenneth Tarver first impressed me when I heard his Fenton at Covent Garden, and in the title role here he has a part tailor-made to his strengths: a full open tenor sound with a ring to it in the upper register, an ability to articulate the coloratura and passagework deftly and rhythmically, and a dangerously attractive stage presence. Lithe in movement and light on his feet, he embodied the dangerous rogue that Fra Diavolo is supposed to be. His Act Three apologia for a bandit’s life and calling, ‘J’ai revu nos amis’ was a marvellous bravura piece of singing, rightly applauded to the rafters!
Mike Reynolds, www.musicalcriticism.com, January 2009
 
“Kenneth Tarver. a fine musician, was the elegant, expressive Fra Diavolo,..and he did a good job with the impossible ‘Je vois marcher sous ma bannière'”
Francis Carlin OPERA NOW May/June 2009
 
 

IDOMENEO – Mozart, Salle Pleyel – Paris

“et le ténor mozartien par excellence, Kenneth Tarver en Arbace (les Liégeois se rappellent peut-être sa lumineuse présence dans la Messe en ut de Mozart dirigée par Louis Langrée en décembre 2001)”.
Jean-Pierre Rousseau le blog, December 2008
 
“Il n’empeche pourtant pas de remarquer l’excellent Kenneth Tarver dans le role difficile et souvent sacrifié d’Arbace, lui qui peut-autre, un jour, sera Idomeneo”.
Didier van Moere, ConcertoNet.com, December 2008
 
“The role of Arbace was similarly cast from strength with Kenneth Tarver, who is one of the most elegant and technically accomplished Mozart tenors these days. For a change, listening to both Arbace’s arias was rather a pleasure than an ordeal to the audience”.
I hear voices (Blog at wordpress.com), November 2008
 
“Depuis mon premier contact avec Kenneth Tarver en Ferrando à Naples, je ne cesse de m’étonner de ses immenses qualités de musicien. Son Arbace est impeccable et s’écoute avec autant de plaisir que d’admiration. Très instrumental, son chant séduisant et raffiné se révèle sans faille lors des deux airs redoutables réservés au confident du roi”.
Friedmun, Operachroniques, November 2008
 
 

MOZART – REQUIEM – Verbier Festival


“Für das herrlich ausgewogene Solistenquartett im Mozart-Requiem hat Martin Engstroem neben Kenneth Tarver, René Pape und Anne Sofie von Otter gar die ausgeruht klingende Barbara Bonney”
Manuel Brug DIE WELT   July 2007  
 
 

DON GIOVANNI – Mozart, CD reviews

“Jacobs sees Ottavio as a character with more spirit and personality than usual, and that is certainly how Kenneth Tarver sings the role”.
George Hall, OPERA, December 2007
 
“Il faut dire que Kenneth Tarver entre dans la catégorie, de moins en moins rare, il faut s’en réjouir, des ténors ayant du goût. Et puis, il y a cette harmonie Mozartienne, qui commence dans la plus désarmante simplicité, et qui éclot en une harmonie luxuriante qui module à chaque temps. La petite cadence finale, que le chanteur entonne là où s’attend ˆà le voir conclure, est orgamisque”.
www.humeurs.calende.org, December 2007
 
“Between Ottavio’s two arias, Jacobs chooses “Dalla sua pace”, the Vienna insert, for the main recording, which is worth getting just to hear Kenneth Tarver’s sonorous, velvety but restrained bel canto in that piece”.
Olga Haldey, www.operatoday.com, December 2007
 
“Don Ottavio, Anna’s patient and caring fiancé, is a difficult role to bring off and can often seem bloodless, but here Kenneth Tarver not only sings the technically difficult music with ease but comes across as warm, heroic and sympathetic”.
Emma Baker, ClassicFM -Disc of the Month, November 2007
 
“Kenneth Tarver ist ein echter Nobel-Ottavio: Wie er Töne verklingen lässt – etwa in dem kadenzartigen «S’ella non l’ha» –, wie er sich in den Piano- Abstufungen zurechtfindet, all das stimmt mit Jacobs’ Vorstellung von einem Ottavio, der maßvoll, sinnlich und empfindsam zugleich ist, nahtlos überein”
Christoph Vratz, OPERNWELT, November 2007
 
“Three cheers for someone having the sense to record Kenneth Tarver’s graceful, agile Ottavio.”
Gramophone (Editor’s Choice-Recording of the Month) October 2007
 
“Kenneth Tarver is an outstanding Don Ottavio, lively and alert, rather than the familiar passive cipher. He has a pleasing, well-balanced lyric timbre, singing both the written and ornamental runs in “Il mio tesoro” with dash”.
Stephen Francis Vasta, Opera News, October 2007
 
“Kenneth Tarver lends gravitas and lyricism to Don Ottavio’s music”
Marion Lignana Rosenberg, TIME OUT New York, October 2007
 
“Kenneth Tarver as Ottavio exhibits a tightly focused tenor, fearless of any heights, fluent in fast music and endless of breath…”
Robert Levine, www.classicstoday.com , September 2007
 
“Kenneth Tarver’s elegant, firm-toned Ottavio”
Andrew Clements – The Guardian, September 2007
 
“Kenneth Tarver’s Don Ottavio stands out for his clarion delivery and limpid phrasing”.
Stephen Eddins, music.barnesandnoble.com
 
“Men istället för att se Don Ottavio som en representant för det högstämda och aristokratiskt förgågna gör Jacobs honom till en modern gestalt. Till ett uttryck för den så kallat “känslosamma stil” som gjorde sig allt starkare i musiken inom radikala borgerliga kretsar i slutet av 17oo-talet. En framtidsman med sin gränslösa omsorg, sitt obönhörliga sanningskrav och med sin emotionella drive. Att höra den fenomenale tenoren Kenneth Tarver i denna så oftade förlöjligade älskarroll är att acceptera att orden: “Jag skulle inte kunna leva utan dig” kanske är det mest utmanande som sägs i hela denna opera.”
Martin Nyström, Dagens Nyheter September 2007
 
 

LA DONNA DEL LAGO – Bellini, Edinburgh Festival (CD Reviews)

“Kenneth Tarver gives a winning performance as Giacomo – bright and flexible of voice, alert to words, technically assured, and full of ardour.”
George Loomis. OPERA, October 2007
 
“y el emergente Kenneth Tarver hace gala de un bonito color vocal, fraseo con gusto y voz fácil y razonablemente extensa”
www.diverdi.com
 
“a remarkable achievement…Tarver, a great artist, was glorious, delivering his coloratura with jaw-dropping ease, and perfectly capturing the king’s complex mix of dangerous charm and lethal political ruthlessness. There was thrilling singing elsewhere too”
Tim Ashley – The Guardian
 
“Eine neue Generation von Belcantisten präsentiert sich hier, die sich nicht im vokalen l’art pour l’art erschöpft… Kenneth Tarver erweist sich in der Rolle des Königs als ein tenore di grazia par excellence”.
Ekkehard Pluta, Opernwelt – August 2007
 
“es uno de los mejores productos de la reciente discografía rossiniana…de obligatorio adquisición para rossinianos irrendentos!”
Rafael Banus – El Cultural (El Mundo)
 
“Sets the gold standard for recorded performances of Rossini’s opera seria composed for Naples. This cast on DVD, in the Pesaro production, would be manna from heaven in the dreams of Rossini enthusiasts”
Recording of the Month, www.musicweb.uk.net
 
“I gloried in the singing of Carmen Giannattasio as Elena and Kenneth Tarver as Uberto… The American Kenneth Tarver matches Giannattasio for even vocal emission to which he adds comparable beauty of tone… the sheer beauty of tone of her tenor counterpart Kenneth Tarver”
www.musicwebinternational.com
 
“It was an evening of general rejoicing in the singers’ art. Perhaps the greatest enthusiasm greeted Kenneth Tarver, especially after his solo at the beginning of Act 2: and that comes out on record exactly as remembered, a m0del of legato singing from the start and blissfully even and precise in florid work later on.”
John Steane GRAMOPHONE August 2007
 
“Opera Rara’s concert performance of Rossini’s exquisite “Scottish” opera, La donna del lago (The Lady of the Lake, based on Walter Scott’s novel), proved an irresistible evening of bel canto high jinks, with the Americans Kenneth Tarver (as the philandering King James V, marauding the highlands in pursuit of his kilted adversaries and any passing piece of skirt) and Gregory Kunde (the clan chieftain Roderick Dhu) competitively ascending the Cairngorms of the tenor register in their “anything you can sing, I can sing higher” duet.”
Hugh Canning THE SUNDAY TIMES 
 
 

OTELLO – Rossini, Washington Concert Opera, – April 2007

“The evening’s discovery was tenor Kenneth Tarver, who played Otello’s rival, Rodrigo. He has a healthy, ringing, fluent high tenor voice of considerable beauty and freedom; no wonder he is already singing at the Metropolitan Opera, at Covent Garden in London, and with the Cleveland and Boston symphony orchestras.
Tim Page – Washington Post
 
 

SERENADE FOR TENOR, HORN AND STRINGS – Britten, Baltimore Symphony

“Tarver’s limpid timbre and thoughtful phrasing got to the heart of the matter. He made the distinctive contours of Britten’s melodic lines speak naturally and truly”.
Tim Smith – The Baltimore Sun
 
 

L’ITALIANA IN ALGERI – Rossini, Palm Beach Opera, February 2007

“The evening’s love-smitten Lindoro, tenor Kenneth Tarver, proved a vocal highlight of the evening. His dulcet timbre and technical mastery of the bel canto style were a joy. His opening Cavatina, “Languir per una bella”, an aria of legendary difficulty, was handled with ease. The innumerable agile leaps into the upper reaches of high B flats and high Cs were delivered with dazzling accuracy while maintaining a smooth and elegant vocal line. Tarver also is a very convincing actor”.
The Palm Beach Daily News
 
“Most noteworthy is Kenneth Tarver’s light, clear tenor and unpretentious acting performance. Each are particularly suited to the role of Lindoro,.. Tarver’s opening “Languir per una bella” stirs the romantic flavors deep in the center of the comedy…it’s Tarver’s appealing phrasing and vocal color that consistently draws attention”.
Sun-Sentinal
 
“As Lindoro, tenor Kenneth Tarver scaled the nosebleed heights of his high vocal role with a confident, lovely tone. It was his vocal energy that got several other singers back on track for the grand finish”.
Palm Beach Post
 
 

OTELLO – Rossini, Carnegie Hall, Opera Orchestra of New York, January 2007

“Rossini called for no fewer than six tenors to fill the cast of Otello…remarkably, all were of high quality. Standout among them was Kenneth Tarver as Rodrigo. Tarver’s blessed with an attractive stage presence and a lovely, effortlessly produced voice that had no trouble meeting Rossini’s stratospheric demands”.
Eric Myers – Variety.com
 
“Equally impressive was Kenneth Tarver as Rodrigo, whose lyricism and light touch complemented the role. His high-lying aria, “Ah, come mai non senti”, was one of the best moments of the night”.
Sarah Gerk, www.operatoday.com
 
 

DON GIOVANNI – Mozart, Brussels/Paris November 2006

“Le ténor Kenneth Tarver est un Don Ottavio magnifique de finesse et de musicalité… cet excellent chanteur qui ne déçoit jamais mériterait une plus belle place médiatique chez les ténors legers”.
Pierre Jean Tribot, www.resmusica.com
 
“dominé par l’Ottavio suprêmement élégant, au timbre melliflu de Kenneth Tarver”
Mehdi Mahdavi, www.altamusica.com
 
 

L’INGANNO FELICE – Rossini festival, Wildbad, July 2005

“Als Glücksfall erwies sich der kurzfristig als Bertrando eingesprungene Kenneth Tarver. Nach leicht nervösem Beginn gewann sein angenehm timbrierter lyrischen Tenor schnell an technischer sicherheit und Höhenglanz. Seinen Vortrag zeichnete zudem stilistische Eleganz aus..”
J.M.Wienecke, Das Opernglas, October 2005
 
 

MESSA DI GLORIA- Puccini, Deutsche Oper Berlin – In Memoriam Marcello Viotti

“Kenneth Tarver ist endlich mal ein Tenor der weder schreit, presst noch knödelt, einfach abhebt und schlank und schön in die Höhe geht. Bravo!”
Clemens Goldberg www.daskulturradio.de, May 2005
 
 

I PAGLIACCI – Deutsche Oper Berlin, April 2005

“der schöne Harlekin mit seinem sanften eleganten Tenor….
www.berlinertheaterkritiken.de
 
“Pleasant surprises by her side. Kenneth Tarver presents himself, the reincarnation of tenoral amiability, with vigorous voice…”
Klaus Geitel Berliner Morgenpost
 
 

MOISE ET PHARAON – Rossini, Palais des Beaux-Arts Brussels, November 2004

“Kenneth Tarver as his son Amenophis was however a model of style and good taste. Here he had an untypical Rossini role, with no astronomical high notes to deliver, more he showed remarkable intonation and wonderful diction…”
G.M


Opera Gazet, Belgium
 
 

LA SCALA DI SETA – Rossini, Deutsche Oper Berlin, March 2004



“Mit Kenneth Tarver in der Rolle des Dorvil ist ein kommender großer Rossini-Tenor zu erleben”.
Klaus Georg Koch , Berliner Zeitung, März 2004
 
“…Und warum sie sich für diesen Dorvil entschied, wusste man in dem Augenblick, als der attraktive, äußerst stimmschön singende Kenneth Tarver seinen lyrischen, schlank geführten Tenor in den Rossini-Himmel schickte”.
Harry Wangerin, Oranienburger Generalanzeiger, März 2004
 
“Das Schmuckstück der Aufführung ist der hochansehnliche farbige Tenor Kenneth Tarver. Er singt und bewegt sich durchgehend gentlemanlike. Man hört ihn mit ebenso großem Vergnügen, wie man ihn sieht; eine Seltenheit bei Tenören”
Klaus Geitel, Berliner Morgenpost, März 2004
 
 

DON PASQUALE – Donizetti, Deutsche Oper Berlin, November 2003

“As Ernesto, Kenneth Tarver…..with natural musicality, magical top notes and creamy legato”.
Shirley Apthorp, Opera Now, January/Febuary 2004
 
“…L’Italianité. On trouve par contre celle-ci présente chez Kenneth Tarver, dont le timbre charmeur et la ligne vocale subtilement modelée dispensent les séductions du bel canto. Son Ernesto constitue le point fort de la distribution”.
Jacques Fournier Opéra International, Dezember 2003
 
“Kenneth Tarver ist es nicht minder. Er taucht im letzten Akt mit seiner Serenade tief ein in den dahinflötenden Karneval der Liebe und bedient dabei seinen hohen Tenor wie eine zusätzliche Zauberflöte”
Klaus Geitel, Berliner Morgenpost, October 2003

 
“Kenneth Tarver als Liebhaber Ernesto ist eine lyrisch sich verströmende Ich-AG, wie sie nur je im Tenor-Buch stand”.
Eleonore Büning, Frankfurter Allgemeine Zeitung, Oktober 2003
 
“Kenneth Tarver singt den Ernesto mit makellos lyrischem Glanz”
Klaus Georg Koch, Berliner Zeitung, Oktober 2003
 
“In Kenneth Tarver hat sie überdies einen Tenorpartner wie aus dem Märchenbuch der Oper gefunden”
Klaus Geitel, Die Welt, October 2003
 
“Kenneth Tarver hat für die todtraurige Arie des verliebten Ernesto, das wunderschöne “Chercheró lontana terra“ genau den richtigen melancholisch angehauchten Tenorschmelz”
Jörg Königsdorf, Der Tagesspiegel, Oktober 2003
 
“Aber mit Kenneth Tarver hat man einen Ernesto engagiert, der ein Glücksfall von hohem Tenore di grazia darstellt, eine echte Alternative zum derzeit konkurrenzlos gefeierten Juan Diego Florez”
Dr.Dieter David Scholz, Radio 3 RBB, October 2003
 
“El papel de Ernesto, enamorado correspondido de Norina, es interpretado en el Don Pasquale de Berlin por el tenor Kenneth Tarver, invitado frecuente del Covent Garden de Londres. Su voz aterciopelada, lirica y tan personal, le convierte en el Ernesto ideal -su solos fueron maravilloso- y a su vez en la pareja ideal por Ofelia Sala, para la trompeta. Tarver canta su desconsuelo en el segundo acto acompañado por el trompetista, con nariz de payaso. Una belleza!”
www.ya.com
 
 

LES TROYENS – BBC PROMS, ROYAL ALBERT HALL August 2003

“Among the rest of the cast, Kenneth Tarver got one of the biggest ovations of the evening, having made Iopas’s “O blonde Cérès” a belcanto gem”
Patrick O’Connor, Opera, November 2003
 
 

L’ITALIANA IN ALGERI – Rossini, Sonntagskonzert, Münchner Rundfunkorchester

“Kenneth Tarver charmiert als Lindoro mit hochlyrischer Mittellage”.
Egbert Tholl , Süddeutsche Zeitung, October 2002
 
 

DIE ENTFÜHRUNG AUS DEM SERAIL – Mozart, Avery Fisher Hall, New York

“…As her lover rescue Belmonte, lyric tenor Kenneth Tarver proved a real find; his colourful, supple voice easily negotiated the high-flying elements of the role and he brought a velvet-cushioned timbre to his lovely soft singing”.
Dan Davis, ClassicsToday.com, May 2002
 
 

DON GIOVANNI – Mozart, Nationaltheater Mannheim (Mozartwoche)

“Schon mal was von Kenneth Tarver gehört ? Der junge, farbige amerikanische Tenor gehört mittlerweile zu den Lichtgestalten im lyrischen Fach, ihn jetzt in Mannheim als Ottavio kennengelernt zu haben, ist auch dem neuen Konzept der Festlichen Opernabende zu verdanken, das bewusst auf junge Stars setzt. Tarvers charakteristisches, blühendes Timbre, überhaupt seine hohe Musikalität, verbunden mit Leichtigkeit und Eleganz der Stimmführung nahmen dann auch rückhaltlos für sich ein”.
Stefan Koch, Mannheimer Morgen, Dezember 2001
 
 

COSI FAN TUTTE – Mozart, Royal Opera Covent Garden, November 2001

“Isokoski was partnered by Kenneth Tarver as Ferrando. Since he is one of today’s leading Rossini tenors, neither the range nor the technical demands hold any fears for him, which made one regret more than ever the traditional cutting of the treacherous “Ah, lo veggio”: he could have sung the socks off it, as he did his other two arias”.
Rodney Milnes, The Times, November 2001
 
“Kenneth Tarver spins out Ferrando’s stratospheric music with sensual ease”.
Tim Ashley, The Guardian, November 2001
 
 

ARMIDA – Rossini, Edinburgh Festival, August 2001

“The highlight for me, however, was Kenneth Tarver. He had such perfect technique. A pure, finished, professional and really very beautiful voice, I would love to hear more of him”.
Kenny Morrison, EdinburghGuide.com, August 2001
 
“The dreamy voiced Kenneth Tarver”
Tim Ashley The Guardian, August 2001
 
“…as Rinaldo’s antagonist Gernando, Kenneth Tarver added an exciting shimmer to a tone of great purity”.
Raymond Monelle, The Independent, August 2001

BÉATRICE ET BÉNÉDICT – Berlioz, LSO LIVE CD


“Kenneth Tarver’s singing of Benedict is simply beautiful. Rarely have I felt so strongly how mean Berlioz was to phase Benedict out so completely in Act 2 … hear Tarver’s‘ Ah! Je vais l’aimer’ if you can”.
Gramophone, December 2000
 
“A limpid and exhilarating delight. Enkelejda Shkosa and Kenneth Tarver in the title roles are excellent, Susan Gritton’s Hero outstanding. Davis touches everything with quicksilver.”
Hugh Canning The Sunday Times
 
 

ROMÉO ET JULIETTE / LES NUITS D’ETE- BERLIOZ, DEUTSCHE GRAMMOPHON, Cleveland Orchestra

It is a pity that the demands of symmetry (and fair disposition) could not have allowed Kenneth Tarver ‘Villanelle’, so beautifully does he sing ‘Au cimetiere’ and, especially, ‘Absence’
Gramophone, February 2004
 
“Kenneth Tarver’s Queen Mab song is among the best on disc, pointedly phrased and sung in a beautiful lyric tenor”.
www.e-Bay.com
 
 

LES TROYENS – Berlioz, LSO LIVE. CD: GRAMMY AWARDS 2001: Best Opera Recording & Best Classical Recording

“Alle Achtung von den meisterhaften Tenor Kenneth Tarver, für mich eine neue Entdeckung!”
www.Amazon.de
 
“I will also mention Kenneth Tarver whose pure tenor voice singing Iopas, well, you could fall in love with that voice!”
msn.com/Classical Mania
 
 

A WHITE HOUSE CANTATA – Bernstein, DEUTSCHE GRAMMOPHON, LSO

“Interpretación inmejorable, con reparto all-stars: nada menos que Thomas Hampson, June Anderson, y nuestra reciente premio Príncipe de Asturias Barbara Hendricks, a los que se une el joven y excelente Kenneth Tarver.”
www.elcultural.com
 
“Superb gerät Barbara Hendricks’ Seena. Ihr Sopran verfügt immer noch über eine einmalige Klangschönheit und Leuchtkraft,..Kenneth Tarver als ihr Ehemann Lud erreicht ebenfalls ein hohes sängerisches Niveau. Die Vorzüge seines höhensicheren lyrischen Tenor kann er nicht nur in der ariosen Liebeserklärung “Seena” gewinnbringend ausspielen.”
S.Mauss OPERNGLAS January 2001
 
 
“Twenty years ago Rossini, Bellini and Donizetti were primarily synonymous with spectacular female soloists, but Florez, Ford and a number of other singers such as Kenneth Tarver have restored the bel canto tenor to his position of centrality”
Tim Ashley, The Guardian, March 14, 2002