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in review

"Overton, too, was an incandescent force through the evening, his “Lux aeterna” a gleaming display of his instrument. Atop a scrim of strings and chimes, dipping woodwinds and radiant horns, Overton’s voice was both monumental and precariously vulnerable"

Michael Andor Brodeur  - Washington Post, May 2022

An African American Requiem - Kennedy Center

"In an emotional powder-keg of a role, Kenneth Overton soars with his potent baritone and poignant renditions of every number.  He pulls everyone’s heartstrings tight and has the ability to take your breath away and reduce you to tears. His showstopping “Lost in the Stars” delivery to close Act I is haunting and will remain one of my favorite and best moments of Union Avenue Opera’s 24th season. He anchored an outstanding youthful ensemble displaying a notable energy and passion."

Lynn Venhaus - Limelight St. Louis, August 25, 2018
Lost in the Stars – Union Avenue Opera

"Overton, a rich, distinct baritone, has the most demanding role in terms of singing and acting, and he handles each aspect with commanding finesse."  

Tina Farmer - KDHX Community Media, August 23, 2018
Lost in the Stars – Union Avenue Opera

"Kenneth Overton’s commanding baritone lends gravity and compassion to his finely etched role of Rev. Kumalo."

Mark Bretz - Ladue News, August 21, 2018
Lost in the Stars – Union Avenue Opera


"Kenneth Overton is simply perfect as Stephen Kumalo. His deep rich voice fills the hall, and Kurt Weill gives him some glorious songs to sing--none more moving than the title number, "Lost In the Stars". Overton could make a career of this role."

Steve Callahan - Broadway World, August 21, 2018
Lost in the Stars – Union Avenue Opera  

"Kenneth Overton’s Kumalo had a big, resonant baritone and a sympathetic presence that held the stage; he looked and sounded right for the part, and had no problem being convincing in his spoken dialogue."
Sarah Bryan Miller - St. Louis Post-Dispatch, August 18, 2018
Lost in the Stars – Union Avenue Opera

“For me, however, the truly exceptional performance of this production came from Kenneth Overton as Porgy. His sheer vocal power -- a ringing, resonant baritone that seemed to emanate from deep within body and soul -- could have carried the whole show on its own. But beyond this, he seemed to possess an intuitive sense of the character that not only projected itself compellingly to the audience, but enriched and enhanced the other roles as well."

Stephen Thomas – Modesto Bee, February 26, 2008
Porgy and Bess – Townsend Opera Players (CA)

“Baritone Overton also succeeds in the limited space, bringing dignity to his killjoy mission to Violetta.”

Anita Donovan – The Times, November 11, 2007
La Traviata - Boheme Opera (NJ)


“In the role of the minister, Kenneth Overton offers a remarkably understated performance. In both his command of this complex character and his beautiful baritone voice, Overton is a magnetic presence.”

Ron Hubbard - Pioneer Press, March 26, 2007
Lost in the Stars - Skylark Opera

“Life on Catfish Row was brought to tuneful reality as Kenneth Overton’s Porgy and Kishna Davis’s Bess won the audience with song and strong acting. Overton delighted the audience as Leoporello is last season’s Don Giovanni and did not disappoint in this successful return.”

Jim Eiker - Memphis Silver Star News, November 14, 2006
Porgy and Bess - Opera Memphis

“Overton was as big a hit as Ernest. His big, warm voice used a wide *dynamic range. Whether he was singing “A per sempre” from I Puritani or “I Got Plenty of Nuttin’” from Gershwin’s Porgy and Bess, his musical line and connection with the audience were great assets. He also received cheers.”

Paul M. Somers - Classical NJ, November 11, 2006
In Concert in NJ for Pro Musica

“Two lovely operatic voices were cast in the title roles. Frequent Opera Memphis baritone Kenneth Overton gave his Porgy an optimism and self-sufficiency.”

Christopher Blank - Memphis Commercial Appeal, October 16, 2006
Porgy and Bess - Opera Memphis


“Don Giovanni’s servant Leporello, played by Kenneth Overton, matched [Stephen] Salters with strong, comedic acting and excellent vocal skill. The response to Leporello’s curtain call was thunderous and almost eclipsed the name star’s curtain call which immediately followed.”

Christopher Blank - Memphis Commercial Appeal, 2006
Don Giovanni - Opera Memphis

“Baritone Kenneth Overton offered some remarkable passages.”

Mary Johnson - The Sun in Annie Arundel, May 12, 2006
Beethoven 9th Symphony - Annapolis Symphony Orchestra

“Baritone Kenneth Overton sang one of the three commedia ministers [Ping] giving their scene of reminiscences a poignant and detailed reading.”

James Koelker - San Francisco Classical Voice, February 28, 2006
Turandot - Sacramento Opera


“Perhaps the surprise performance of the evening was actually that of Kenneth Overton, whom I thought did an outstanding job as Taddeo. And who voice was strong, rich in tone and even throughout the entire performance.”

Paul Joseph Walkowski - OperaOnline, November 5, 2005
L’Italiana in Algeria - Connecticut Opera

“Other side-splitting moments included the bubbly Act I Finale and the Act II Trio with... the formidable bass-baritone Kenneth Overton as Isabella’s smitten ‘uncle’ Taddeo.”

Matthew Erikson - The Hartford Courant, November 5, 2005
L’Italiana in Algeria - Connecticut Opera


“The vibrant and talented young cast includes some exceptional voices, notably Kenneth Overton, who acclaimed leading roles include Carmen, Don Giovanni, La Boheme, Turandot and Porgy and Bess for the Connecticut Opera Company and recently made his Broadway début in Baz Luhrman’s acclaimed La Boheme.”

Hereford and Worcester - BBC, October 26, 2005
L’Italiana in Algeria - Connecticut Opera


“As Schaunard, Kenneth Overton was the most lively of the four men and used the entire stage to benefit his character.”

Carlton J. Ilkinson - Ashbury Park Press, August 9. 2005
La Bohome - Metro Lyric Opera


“Kenneth Overton made a livelier Masetto with a very well vocalized ‘Ho Capito.’”

David Shengold - Opera News, May 14, 2005
Don Giovanni - Connecticut Grand Opera


“Kenneth Overton [as Ping] impressed with his rich-toned baritone.”

Robert Baxter - Opera Canada, Winter 2004
Turandot - Opera Delaware


“The hot-headed Masetto [was] sung with verve by last-minute sub Kenneth Overton.”

Frederick Kaimann - The Star-Ledger, July 19, 2004
Don Giovanni - Metro Lyric Opera


“Kenneth Overton performed the roles of both Masetto and the Commendatore, and his resonant bass-baritone was effective in both. As Masetto, he seemed very much the simple peasant newly-wed. For his transition to Commendatore, he wore a cape, strutted across the stage with great flourish and adopted a more declamatory vocal character and upright bearing.”

Brad Tonfow - The Westfield Ledger, May 20, 2004
Don Giovanni - Westfield Symphony Orchestra


“Kenneth Overton’s powerful Papageno stole the show.”

Shirley Fleming - The New York Post, August 12, 2003
The Magic Flute - Opera Company of Brooklyn


“Two singers stood out, soprano Janinah Burnett and Kenneth Overton, with a drolly-acted and finely-sung Papageno.”

Jeremy Eichler - The New York Times, August 11, 2003
The Magic Flute - Opera Company of Brooklyn


“Mr. Overton’s vocal talents were on full display as he charmed the audience. A virtuoso treatment of the commissioned piece ‘Been in de Storm So Long’ by Wayne Sanders generated huge applause that paved the way for an encore which alone was almost worth the entire appearance. Overton unveiled a rarely heard Negro spiritual... demanding relentless gusto, finesse and craftsmanship - all of which this young singer delivered without reserve.”

Quarter Notes, Summer 2003
The “Negro Spiritual” Scholarship Foundation – Orlando

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