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Kenneth Tarver
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Kenneth Tarver emerged at the end of the twentieth century as one of the more promising young tenors. He began with notable appearances in Rossini and Mozart operas in the lighter, more lyric roles, such as Lindoro in L'Italiana in Algeri (Glimmerglass and New York City Opera in 1997), Don Ottavio in Don Giovanni at the Berlin Opera, Unter den Linden, Lyons, Piccolo Scala in Milan, and in Brussels as Count Almaviva in The Barber of Seville at
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Biography |
by Joseph Stevenson
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Kenneth Tarver emerged at the end of the twentieth century as one of the more promising young tenors. He began with notable appearances in Rossini and Mozart operas in the lighter, more lyric roles, such as Lindoro in L'Italiana in Algeri (Glimmerglass and New York City Opera in 1997), Don Ottavio in Don Giovanni at the Berlin Opera, Unter den Linden, Lyons, Piccolo Scala in Milan, and in Brussels as Count Almaviva in The Barber of Seville at Unter den Linden.
These successes led to his being booked solidly in 2000, including performances as Fenton in Otello at the Saint-Denis in Paris and the Royal Opera, Covent Garden, in London, and in his first major leading appearance, as Bénédict in Berlioz's Béatrice et Bénédict at London's Barbican Centre, and, scheduled for December of the same year, Hylas in Berlioz's The Trojans at Carthage.
He also made a recording with Deutsche Grammophon as part of a large cast in The White House Cantata, a concert work arranged from the music of Leonard Bernstein's failed 1976 musical 1600 Pennsylvania Avenue, conducted by Kent Nagano. |
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