CRITICAL ACCLAIM

“Here is a singer of unnerving ability, blessed with a muscular but flexible sound, plenty of tonal color and technical proficiency -- not to mention a full helping of charismatic good looks.”
Joshua Kosman, The San Francisco Chronicle, August 19, 2003

 

Berlin Philharmonic, Berlioz: Grande Messe des morts

The tenor Joseph Kaiser sang the work’s only solo movement with ardent but pure ecstasy, the orchestra weaving a time-rapt, brightly flickering carpet of sound.”
Peter Uehling, BerlinerZeitung, May 17, 2008

“Joseph Kaiser sings the “Sanctus” like a Lohengrin from heaven.”
Sybill Mahlke, Der Tagesspiegel, May 17, 2008

 

Roméo et Juliette

“To make a Met debut opposite one of the most charismatic, popular and unpredictable sopranos of the day must have been both thrilling and intimidating for Mr. Kaiser, who turns 30 tomorrow. He seemed elated by the enthusiastic ovation he received.  Mr. Kaiser has an ardent, youthful and warm tenor voice. His performance was enriched by his keen musical intelligence and elegantly stylish phrasing. Tall, handsome and agile, he has an appealing stage presence. Ms. Netrebko, an intensely dramatic performer, looked excited to have a young tenor with whom she could really act.”
Anthony Tommasini, The New York Times, October 13, 2007

“Kaiser displayed fine musicianship all evening, spinning out Gounod's rich melodic lines with a warm, clarion tone that often reached vocal heights with ease, even a high B and C… And the buzz around him includes blogging fans who have dubbed him "Hunkentenor" and "Kute Kaiser."”
Verena Dobnik, Associated Press, October 5, 2007

 

Eugene Onegin

“Joseph Kaiser macht Sehnsucht, Eifersucht, Verzweiflung des Lenski begreiflich.”
Karl Löbl, Oe24.at, August 9, 2007

“Joseph Kaiser, a promising newcomer with a strong lyric tenor, was an ardent Lensky.”
George Loomis, MusicalAmerica.com, August 3, 2007

“Lenski des geradlinig singenden Joseph Kaiser wenig aus der Reserve locken, konzentriert sich der größte Festspielbeifall auf ein grandioses Überbleibsel aus alten Karajan-Zeiten.”
Manuel Brug, Die Welt, August 1, 2007

“Den Lenski singt und spielt Joseph Kaiser sympathisch, lyrisch leicht, ohne tenorale Drücker und Posen.”
Gabriele Luster, Münchner Merkur, August 1, 2007

“Nicht minder intensiv mit ebenso edlem und charaktervoll leuchtendem Tenor: Joseph Kaiser, der nicht nur differenziert vokal gestaltet, sondern zudem ein exzellenter Schauspieler ist. Wie der junge Kanadier die Verzweiflung in Lenskis Abschiedsarie vor dem Duell mit Onegin aus sich heraus singt, während er die Fotos von Olga einzeln verbrennt, hat nichts von Larmoyanz, sondern ist das erschreckende Psychogramm existentieller Todessehnsucht.“
Klaus Kalchschmid, KlassicInfo.de, August 1, 2007

“Joseph Kaiser erfüllte den Lenski mit tenoraler Leidenschaftlichkeit.”
Hans-Klaus Jungheinrich, Frankfurter Rundschau, August 1, 2007

“Stimmlich auf Hochglanz dabei der kanadische Tenor Joseph Kaiser.”
Michael Wruss, OÖNachrichten, August 1, 2007

“Kaiser, der mit schlank-körnigem Tenor innig seine Arie in der Duellszene sang…”
Götz Thieme, Stuttgarter Zeitung, July 31, 2007

“Der blässliche Tenor Joseph Kaisers vermag zwar mit klarer Linienführung zu punkten, bleibt aber den expressiven Anforderungen an die Partie des Lenski viel schuldig.”
Wilhelm Sinkovicz, Die Presse, July 30, 2007

“Joseph Kaiser is the substantial, spirited Lensky.”
Financial Times, July 30, 2007

“Joseph Kaiser ist aber auch eine Idealbesetzung für den Lenski, weil er den lyrischen Sehnsuchtston dieses weltfremden Romantikers genau trifft.”

[Joe Kaiser is ideally cast for Lenski, because he meets exactly the lyric romantic sounds.]
Frederik Hanssen, Der Tagesspiegel, July 30, 2007

 “Lensky…intensiv und klangschön Joseph Kaiser.”

[“Lenksy…Intense and with beautiful sound Joseph Kaiser.”] 
Ljubisa Tosic, Der Standard, July 31, 2007

“Joseph Kaiser gibt einen herzzerreißenden Lenski, den nebst Eifersucht aber Spitzentöne plagen.”

[“Joseph Kaiser gave a heart-wrenching performance of Lenski, plagued not just by jealousy but also by high notes.”]
Christoph Irrgeher, Wiener Zeitung, July 30, 2007

“Lenski, der das Band einer deutschen Studentenverbindung trägt und dem Ehrenkodex des Mannes bis zum tödlichen Ende gehorsam bleibt – der junge Kanadier Joseph Kaiser lässt es mit viel Klang, aber auch ein wenig weinerlichem Unterton hören.“

[“The young Canadian Joseph Kaiser lets us hear Lenski with much sound, but also slightly plaintive undertones.”]
Peter Hagmann, Neue Zürcher Zeitung, July 31, 2007

 

Béatrice et Bénédict

“Joseph Kaiser was perfectly cast as Benedict, the bright, pinging upper register of his lyric tenor sounding especially lovely in the cocky soldier's bravura defense of bachelorhood.  Kaiser also provided a consistent measure of expert frivolity, even when elements around him did not.”
Mark Thomas Ketterson, Opera News, August, 2007

“Kaiser fielded the perfect French lyric sound -- smooth, sweet and ringing at the top. He swaggered and scampered around the stage with the dexterity of a gymnast. Any soldier this cocky was bound to fall smack on his duffel bag, but Kaiser played Benedict's strutting vanity for honest laughs, and earned them.”
John von Rhein, Chicago Tribune, May 24, 2007

“Tenor Joseph Kaiser…seem[s] born to [his] lyrical part…”
Andrew Patner, Chicago Sun Times, May 25, 2007

 

Dialogues des Carmelites

“Tenor Joseph Kaiser, a tall, good-looking tenor with a beautiful voice, was impressive as Blanche’s brother, the Chevalier de la Force.”
Sarah Bryan Miller, Musical America, February 26, 2007

“…tenor Joseph Kaiser distinguishes himself as her brother, the Chevalier, caught among several worlds.”
Andrew Patner, Chicago Sun-Times, February 19, 2007

 

Salome

“Joseph Kaiser’s handsome lyric tenor stands out as Narraboth.”
Hugh Canning, The Sunday Times, March 2, 2008

“A refulgent Narraboth from Joseph Kaiser initiated an evening of fine singing from the entire cast.”
Mark Thomas Ketterson, Opera News, January 2007

“Tall and handsome Kaiser is one to watch. He beat out the world to grab the coveted part of Tamino in Kenneth Branagh's soon to be released film The Magic Flute, and for good reason. He is a lyric tenor, but one with substance. His is a beautiful voice, sweet and manly at the same time, and his phrasing and connection to text is expressive. He can also boast both the Salzburg Festival and Covent Garden as future engagements.”
Paula Citron, The Globe and Mail, November 9, 2006

“The most consistently satisfying vocalism came from Joseph Kaiser, a young tenor on the brink of stardom, whether or not the Kenneth Branagh film of "Magic Flute" in which he appears becomes a hit…he sang the challenging high phrases with clarity and shine.”
David Shengold, Gay City News, November 3, 2006

“Joseph Kaiser as Narraboth, captain of Herod's guards, has a powerful, clear and fresh voice. He is a charismatic fellow on stage and it was a shame he had to die so early in the opera.”
Jim Edwards, The Beacon News, November 2, 2006

“Salome-infatuated Narraboth was sung by newcomer tenor Joseph Kaiser with strength and poignancy.”
Robert Hilferty, Gramophone, October 24, 2006

“…tenor Joseph Kaiser brings out the caught-in-the-middleness of…the guards' captain Narraboth without neglecting that…[he is] also twisted and certainly not blameless.”
Andrew Patner, Chicago Sun-Times, October 23, 2006

“Joseph Kaiser sang the tricky role of Narraboth with a clarion, urgent tenor.”
John von Rhein, Chicago Tribune, October 23, 2006

“…Young Canadian tenor Joseph Kaiser was affecting as Narraboth, the smitten captain of the guard who kills himself over Salome.”
F.N. D’Alessio, CBS News, October 22, 2006

“Other standouts are Judith Forst, a raw-voiced Herodias, who is Salome’s mother and Herod’s consort, and Joseph Kaiser, a hunky Narraboth, the captain of the palace guards.”
Anthony Tommasini, New York Times, October 22, 2006

 

Previous ( Page 3 of 4 ) Next