Kyle Pfortmiller, baritone

reviews

Barber of Seville (Utah Festival Opera)
Salt Lake Tribune, Salt Lake City, UT, July 9, 2010
by Robert Coleman

You could hardly ask for a better Figaro than Kyle Pfortmiller, who not only has a rich, strong voice, but also brings a charming style and panache to the character.

Barber of Seville (Utah Festvail Opera)
Deseret News, Salt Lake City, UT, July 12, 2010
by Carma Wadley

You could hardly ask for a better Figaro than Kyle Pfortmiller, who not only has a rich, strong voice, but also brings a charming style and panache to the character.

Candide (New York City Opera)
Leonard Link, New York, NY, April 12, 2008
by Arhtur S. Leonard

Kyle Pfortmiller as Maximilian - was strong of voice, beautiful of form, and quite fetching in his little bit of cross-dressing vaudeville.

Candide (New York City Opera)
TheaterMania.com, New York, NY, April 9, 2008
by David Finkle

Well-earned nod to Kyle Pfortmiller for throwing himself whole-hearted into silly Maximilian, who at one point pretends to be a buxom courtesan.

Candide (New York City Opera)
MusicalCriticism.com, New York, NY, April 11. 2008
by Dominic McHugh

Only one of the performers was entirely satisfying on the second night of the run, when I saw it: Kyle Pfortmiller’s characterisation of Maximilian was as humorously narcissistic as it should be, a clear demonstration that the piece can work when it’s put in the right hands, and his voice was consistently excellent when both singing and speaking.

Candide (New York City Opera)
The New York Sun, New York, NY, April 11. 2008
by George Loomis

Kyle Pfortmiller sang with a fine, robust baritone as Maximilian.

Lakmé (Tulsa Opera)
Tulsa World, Tulsa, OK, February 25, 2008
by James D. Watts, Jr.

Kyle Pfortmiller was excellent as Gerald’s practical but prescient friend Frederic.

Le nozze di Figaro (Michigan Opera Theatre)
Grosse Pointe News, Grosse Pointe, MI, November 15, 2007
by Dina Winter

Kyle Pfortmiller, as the mellifluous-sounding and good-looking Count Almaviva, was outstanding both as singer and actor.

Le nozze di Figaro (Michigan Opera Theatre)
Detroit Free Press, Detroit, MI, November 13, 2007
by Mark Stryker

Baritone Kyle Pfortmiller’s Count was impressively three-dimensional.

I pagliacci (De Nederlandse Opera)
Opera Today.com, March 29, 2006
by Jan Neckers

My luck went even further because young American Kyle Pfortmiller proved himself to be a find, too. A young slender man with a big booming, but very lyric and smooth, baritone should go far. In a few years time this is a voice that could give us a father Germont and other lyric roles in the great American baritone tradition of Robert Merrill.

Cosi fan tutte (New York City Opera)
The New York Times, New York, NY, October 24, 2006
by Bernard Holland

Ryan MacPherson and Kyle Pfortmiller both enjoy strong, healthy voices.

Cosi fan tutte (New York City Opera)
New York Post, New York, NY, October 24, 2006
by Clive Barnes

Brilliant young American singer, Kyle Pfortmiller.

Cosi fan tutte (New York City Opera)
New York Newsday, New York, NY, October 25, 2006
by Marion Lignana Rosenberg

Vocal honors go to baritone Kyle Pfortmiller (Guglielmo) who has a dark, buttery sound and a personality that pops off the stage.

Cosi fan tutte (New York City Opera)
Oberon’s Grove, November 10, 2006

Kyle Pfortmiller is a good-looking guy with a nice darkish tinge to his strong, lyric sound.

Cosi fan tutte (New York City Opera)
Leonard Link, November 11, 2006
by Arthur S. Leonard

If there is one real discovery here for me, it is Kyle Pfortmiller, who made a big impression as Guglielmo, the lead baritone. This young man has a gorgeous voice, an athletic presence, and a greater acting ability than one normally finds on the opera stage.

Cosi fan tutte (New York City Opera)
Google Groups rec.music.opera, October 22, 2006
by Charlie

...but the star of the evening was the young baritone Kyle Pfortmiller. Now in the last few weeks I have seen Daniel Mobbds and now Kyle Pfortmiller, two of the finest lyric baritones in our opera world. (Well Mr. Mobbs is closer to bass-baritone.) Mr. Pfortmiller is a talent to be watched and I hope he goes very far in his career.

Il barbiere di Siviglia (Lake George Opera)
Opera Online, July 8, 2006
by Paul Joseph Walkowski

While the ensemble had many “stars” the standout would have to be baritone Kyle Pfortmiller’s animated and lively Figaro. Pfortmiller’s voice packs a wallop and coupled with a strong and darkly handsome stage presence, sets this singer apart whenever he is on stage. It would be interesting to hear and see him in some of the darker Verdi baritone roles. His performance here was electric, both amplifying the light humor that is in the Barber and adding to it his own touch of sex appeal that is palpably noticeable.

Die Fledermaus (Opera Grand Rapids)
The Grand Rapids Press, Grand Rapids, MI, March 30, 2005
by Jeffrey Kaczmarzyk

Baritone Kyle Pfortmiller was tall, attractive and gifted with dark voice that adapted to his alter egos as a French nobleman and stuttering lawyer.

Candide (NYCO)
The New York Times, New York, NY, March 10, 2005
by Anthony Tommasini

The hardy baritone Kyle Pfortmiller makes a strapping Maximilian, Cunegonde’s vain brother, so contentedly absorbed with his own beauty.

Candide (NYCO)
Variety, March 9, 2005
by David Rooney

Along with Kyle Pfortmiller as the vain Maximilian, [they] exhibit the kind of sturdy comic chops that are rarely the domain of opera performers.

Candide (NYCO)
New York Newsday, New York, NY, March 10, 2005
by Marian Lignana Rosenberg

>Kyle Pfortmiller makes a winningly vain and obtuse Maximilian

Candide (NYCO)
Columbia Spectator, New York, NY, March 24, 2005
by A.J. Goldmann

The vain Maximilian was inhabited flawlessly by the dashing Kyle Pfortmiller

Candide (NYCO)
TheaterScene.net, March 9, 2005
by Bruce-Michael Gelbert

Kyle Pfortmiller is all apt attitude and fresh round baritone as Cunegonde’s vain brother and sometime cross-dresser Maximilian.

Candide (NYCO)
TheaterMania.com, March 10, 2005
by Michael Portantiere

Pfortmiller’s solid baritone is a joy to hear in “My Love” and other numbers. As icing on the cake, this opera singer is also a fine actor with strong stage presence.

Il barbiere di Siviglia (Tulsa Opera)
Tulsa World, Tulsa, OK, March 1, 2004
by James D. Watts, Jr.

First and foremost was Kyle Pfortmiller in the title role, a part that he seems born to play. He got the devil-may-care rakishness of Figaro down pat, cutting a figure at once elegant and impish. And he handles the opera’s best-known piece, the aria ’Largo al Factotum’ with great panache. Pfortmiller’s performance Saturday night came very close to stopping the show.

Carmen (Fresno Grand Opera)
Fresno Bee, Fresno, CA, May 4, 2003

[As Escamillo] His voice is incredibly smooth and rich, and sings with a clean melodic line.

Die Fledermaus (Sarasota Opera)
Sarasota Herald-Tribune, Sarasota, FL, February 19, 2003

As Eisenstein, Kyle Pfortmiller used a brilliant, high baritone and a broad comic style to good effect.

Die Fledermaus (Sarasota Opera)
Venice Gondolier-Sun, Venice, FL, March 5, 2003

Kyle Pfortmiller as Eisenstein, with finely modulated voice, moved across the stage with ease...

Die Fledermaus (Sarasota Opera)
The Longboat Observer, Longboat Key, FL, March 6, 2003

Kyle Pfortmiller, in the role of Eisenstein showed promise both vocally and comedically...

Die Fledermaus (Sarasota Opera)
South Florida Sun-Sentinel, St.Petersburg, FL, March 24, 2003

As her philandering spouse Eisenstein, Kyle Pfortmiller’s firm baritone and engaging presence provided the show’s best moments.

Boccaccio (Bronx Opera)
Opera News Online, April 2002

In this cast, Kyle Pfortmiller made a confident, plausibly dashing hero with excellent diction, good comic timing and a ringing "baritenor" of considerable promise.

Boccaccio (Bronx Opera)
TheaterScene.net, January 20, 2002

Kyle Pfortmiller [as the title role] displays a vibrant high baritone and a dashing presence.

The Desert Song (Light Opera Oklahoma)
Tulsa World, Tulsa, OK, June 14, 2000
by Jams D. Watts, Jr.

Kyle Pfortmiller is a commanding figure as the Red Shadow and brings a touch of Jerry Lewis-style goofiness when he’s portraying Pierre.

Carousel (Natchez Opera Festival)
Natchez Democrat, Natchez, MS, May 12, 1999

as Billy Bigelow, Pfortmiller powerfully croons his way through with a golden voice and self-confident persona

Marriage of Figaro (Springfield Regional Opera)
Springfield News-Leader, Springfield, MO, February 22, 1999

Mister Pfortmiller cuts a handsome figure as the Count and lends humanity to the role.


laura pfortmiller biography . résumé . schedule . reviews . photos . blog . contact	reviews Barber of Seville (Utah Festival Opera) Salt Lake Tribune, Salt Lake City, UT, July 9, 2010 by Robert Coleman You could hardly ask for a better Figaro than Kyle Pfortmiller, who not only has a rich, strong voice, but also brings a charming style and panache to the character. Barber of Seville (Utah Festvail Opera) Deseret News, Salt Lake City, UT, July 12, 2010 by Carma Wadley You could hardly ask for a better Figaro than Kyle Pfortmiller, who not only has a rich, strong voice, but also brings a charming style and panache to the character. Candide (New York City Opera) Leonard Link, New York, NY, April 12, 2008 by Arhtur S. Leonard Kyle Pfortmiller as Maximilian - was strong of voice, beautiful of form, and quite fetching in his little bit of cross-dressing vaudeville. Candide (New York City Opera) TheaterMania.com, New York, NY, April 9, 2008 by David Finkle Well-earned nod to Kyle Pfortmiller for throwing himself whole-hearted into silly Maximilian, who at one point pretends to be a buxom courtesan. Candide (New York City Opera) MusicalCriticism.com, New York, NY, April 11. 2008 by Dominic McHugh Only one of the performers was entirely satisfying on the second night of the run, when I saw it: Kyle Pfortmiller’s characterisation of Maximilian was as humorously narcissistic as it should be, a clear demonstration that the piece can work when it’s put in the right hands, and his voice was consistently excellent when both singing and speaking. Candide (New York City Opera) The New York Sun, New York, NY, April 11. 2008 by George Loomis Kyle Pfortmiller sang with a fine, robust baritone as Maximilian. Lakmé (Tulsa Opera) Tulsa World, Tulsa, OK, February 25, 2008 by James D. Watts, Jr. Kyle Pfortmiller was excellent as Gerald’s practical but prescient friend Frederic. Le nozze di Figaro (Michigan Opera Theatre) Grosse Pointe News, Grosse Pointe, MI, November 15, 2007 by Dina Winter Kyle Pfortmiller, as the mellifluous-sounding and good-looking Count Almaviva, was outstanding both as singer and actor. Le nozze di Figaro (Michigan Opera Theatre) Detroit Free Press, Detroit, MI, November 13, 2007 by Mark Stryker Baritone Kyle Pfortmiller’s Count was impressively three-dimensional. I pagliacci (De Nederlandse Opera) Opera Today.com, March 29, 2006 by Jan Neckers My luck went even further because young American Kyle Pfortmiller proved himself to be a find, too. A young slender man with a big booming, but very lyric and smooth, baritone should go far. In a few years time this is a voice that could give us a father Germont and other lyric roles in the great American baritone tradition of Robert Merrill. Cosi fan tutte (New York City Opera) The New York Times, New York, NY, October 24, 2006 by Bernard Holland Ryan MacPherson and Kyle Pfortmiller both enjoy strong, healthy voices. Cosi fan tutte (New York City Opera) New York Post, New York, NY, October 24, 2006 by Clive Barnes Brilliant young American singer, Kyle Pfortmiller. Cosi fan tutte (New York City Opera) New York Newsday, New York, NY, October 25, 2006 by Marion Lignana Rosenberg Vocal honors go to baritone Kyle Pfortmiller (Guglielmo) who has a dark, buttery sound and a personality that pops off the stage. Cosi fan tutte (New York City Opera) Oberon’s Grove, November 10, 2006 Kyle Pfortmiller is a good-looking guy with a nice darkish tinge to his strong, lyric sound. Cosi fan tutte (New York City Opera) Leonard Link, November 11, 2006 by Arthur S. Leonard If there is one real discovery here for me, it is Kyle Pfortmiller, who made a big impression as Guglielmo, the lead baritone. This young man has a gorgeous voice, an athletic presence, and a greater acting ability than one normally finds on the opera stage. Cosi fan tutte (New York City Opera) Google Groups rec.music.opera, October 22, 2006 by Charlie ...but the star of the evening was the young baritone Kyle Pfortmiller. Now in the last few weeks I have seen Daniel Mobbds and now Kyle Pfortmiller, two of the finest lyric baritones in our opera world. (Well Mr. Mobbs is closer to bass-baritone.) Mr. Pfortmiller is a talent to be watched and I hope he goes very far in his career. Il barbiere di Siviglia (Lake George Opera) Opera Online, July 8, 2006 by Paul Joseph Walkowski While the ensemble had many “stars” the standout would have to be baritone Kyle Pfortmiller’s animated and lively Figaro. Pfortmiller’s voice packs a wallop and coupled with a strong and darkly handsome stage presence, sets this singer apart whenever he is on stage. It would be interesting to hear and see him in some of the darker Verdi baritone roles. His performance here was electric, both amplifying the light humor that is in the Barber and adding to it his own touch of sex appeal that is palpably noticeable. Die Fledermaus (Opera Grand Rapids) The Grand Rapids Press, Grand Rapids, MI, March 30, 2005 by Jeffrey Kaczmarzyk Baritone Kyle Pfortmiller was tall, attractive and gifted with dark voice that adapted to his alter egos as a French nobleman and stuttering lawyer. Candide (NYCO) The New York Times, New York, NY, March 10, 2005 by Anthony Tommasini The hardy baritone Kyle Pfortmiller makes a strapping Maximilian, Cunegonde’s vain brother, so contentedly absorbed with his own beauty. Candide (NYCO) Variety, March 9, 2005 by David Rooney Along with Kyle Pfortmiller as the vain Maximilian, [they] exhibit the kind of sturdy comic chops that are rarely the domain of opera performers. Candide (NYCO) New York Newsday, New York, NY, March 10, 2005 by Marian Lignana Rosenberg >Kyle Pfortmiller makes a winningly vain and obtuse Maximilian Candide (NYCO) Columbia Spectator, New York, NY, March 24, 2005 by A.J. Goldmann The vain Maximilian was inhabited flawlessly by the dashing Kyle Pfortmiller Candide (NYCO) TheaterScene.net, March 9, 2005 by Bruce-Michael Gelbert Kyle Pfortmiller is all apt attitude and fresh round baritone as Cunegonde’s vain brother and sometime cross-dresser Maximilian. Candide (NYCO) TheaterMania.com, March 10, 2005 by Michael Portantiere Pfortmiller’s solid baritone is a joy to hear in “My Love” and other numbers. As icing on the cake, this opera singer is also a fine actor with strong stage presence. Il barbiere di Siviglia (Tulsa Opera) Tulsa World, Tulsa, OK, March 1, 2004 by James D. Watts, Jr. First and foremost was Kyle Pfortmiller in the title role, a part that he seems born to play. He got the devil-may-care rakishness of Figaro down pat, cutting a figure at once elegant and impish. And he handles the opera’s best-known piece, the aria ’Largo al Factotum’ with great panache. Pfortmiller’s performance Saturday night came very close to stopping the show. Carmen (Fresno Grand Opera) Fresno Bee, Fresno, CA, May 4, 2003 [As Escamillo] His voice is incredibly smooth and rich, and sings with a clean melodic line. Die Fledermaus (Sarasota Opera) Sarasota Herald-Tribune, Sarasota, FL, February 19, 2003 As Eisenstein, Kyle Pfortmiller used a brilliant, high baritone and a broad comic style to good effect. Die Fledermaus (Sarasota Opera) Venice Gondolier-Sun, Venice, FL, March 5, 2003 Kyle Pfortmiller as Eisenstein, with finely modulated voice, moved across the stage with ease... Die Fledermaus (Sarasota Opera) The Longboat Observer, Longboat Key, FL, March 6, 2003 Kyle Pfortmiller, in the role of Eisenstein showed promise both vocally and comedically... Die Fledermaus (Sarasota Opera) South Florida Sun-Sentinel, St.Petersburg, FL, March 24, 2003 As her philandering spouse Eisenstein, Kyle Pfortmiller’s firm baritone and engaging presence provided the show’s best moments. Boccaccio (Bronx Opera) Opera News Online, April 2002 In this cast, Kyle Pfortmiller made a confident, plausibly dashing hero with excellent diction, good comic timing and a ringing "baritenor" of considerable promise. Boccaccio (Bronx Opera) TheaterScene.net, January 20, 2002 Kyle Pfortmiller [as the title role] displays a vibrant high baritone and a dashing presence. The Desert Song (Light Opera Oklahoma) Tulsa World, Tulsa, OK, June 14, 2000 by Jams D. Watts, Jr. Kyle Pfortmiller is a commanding figure as the Red Shadow and brings a touch of Jerry Lewis-style goofiness when he’s portraying Pierre. Carousel (Natchez Opera Festival) Natchez Democrat, Natchez, MS, May 12, 1999 as Billy Bigelow, Pfortmiller powerfully croons his way through with a golden voice and self-confident persona Marriage of Figaro (Springfield Regional Opera) Springfield News-Leader, Springfield, MO, February 22, 1999 Mister Pfortmiller cuts a handsome figure as the Count and lends humanity to the role.


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