– “The singing contained some remarkable performances, most notably from the two main male leads. Illinois-born Kunde gives a performance of huge power (it is mind-boggling to read that he is 65 years of age). This Otello is a man’s man, and Kunde’s singing reflects that, stentorian, forthright and always eminently believable – so much so, that it is as if we follow him on his journey towards death. Right from that first ‘Esultate!’, we know that ego is both rampant, and that it is the key to his downfall. We do see Otello’s human nature (an incredibly powerful ‘Ora e per sempre addio,’ and ‘Dio! Mi potevi scagliar’) and, as the opera progresses, we realise how fragile his mask is.” Colin Clarke (Seen and Heard International)
– “Gregory Kunde’s portrayal of Otello may feel quite straight forward, but it is highly effective because it cuts right to the heart of the character. The whole point of the general is that the traits that have served him so well in battle, namely courage, quick decision-making and unswerving belief, prove ill suited to managing domestic relationships, but we have to feel his attributes for ourselves. This is because it is only moving to see a man defeated by himself if we can appreciate what a bold lion he is in the first place. Kunde certainly makes him so while delivering singing of the utmost strength.” Sam Smith (Opera Online)
– “Otello’s descent into insanity was superbly portrayed by the American tenor Gregory Kunde who shared the role in 2017 with Jonas Kaufmann and sang it with the company in Japan this September. His clear, open voice exhibited just the right darkness of tone, wonderfully expressing the pain he feels after his Act III duet with Desdemona, and as he later lies prone on stage, Iago places the mask of death over his face.” Mark Ronan (The Article)
– “In the initial run of performances in 2017, American tenor Gregory Kunde eclipsed the underpowered Jonas Kaufmann, who was unfairly featured on the first night and the DVD. Now Kunde has the role to himself. The only tenor I have ever heard sing the high F in Bellini’s I Puritani, the burly Illinois man used to be a bel canto specialist, but his voice has filled out and he has no trouble with Verdi’s most fiendishly demanding role, in which Otello has to exert great force from his entrance onwards.” Tully Potter (Daily Mail)
– “Gregory Kunde shared the role of Otello with Kaufmann last time around. Now 65, he sounds 10 years younger. Kunde is a bright-voiced tenor, not the baritonal type associated with this role (he was known for Arturo in Bellini’s Puritani earlier in his career), and is at his best trumpeting Otello’s top notes, not least a fearless “Esultate!” Richard Fairman (Financial Times)
– “Kunde maintained power and focus through the evening so that his “Niun mi tema” was gripping in its dramatic intensity; remarkable singing which took me by complete surprise. He must be one of the few tenors to take on both Rossini and Verdi’s Moor.” Mark Pullinger (Bachtrack)
– “However, when Warner allows his Otello to take centre stage, Kunde is magnificent in fleshing out a character who is on the brink of destruction for his obsessive love of Ermonela Jaho’s fragile Desdemona and the decaying jealousy which will inevitably conclude in their deaths. “ Marc Bridle (Opera Today)