Kevin Burdette, playing the self-infatuated poet Archibald in Patience,
showed off his plummy, Thomas Hampson-like voicewas he doing
an impersonation, perchance?and also his phenomenal agility.
He held his own in a giddy song-and-dance routine with the West
End veteran Michael Ball. Im told that Burdette is deciding
between a career in opera and law. As James Joyces wife once
said of her husband, he should stick to the singing."
bass-baritone Kevin Burdette put across the Fathers music
with a sharply focused clarity and power. Mr. Burdette was also
the star of 'Emperor,' in which he played the combined role of Death
and the Loudspeaker with an idiosyncratic, darkly comic incisiveness
that underpinned a magnificent vocal performance." New York
of all, however, was Kevin Burdette as Nick Shadow . . . . [U]pon
his actual entrance, he commanded the proceedings. Burdette's Nick
cut a fiendishly dashing figure, everything about him sharply delineated
his diction, his gestures and his penetratingly pointed bass.
At times, Burdette dominated scenes merely by observing the goings-on
with a wryly arched eyebrow. In Shadow's final aria after Tom has
defeated him at cards, Burdette's bemused detachment turned to magnificent
City Opera is fortunate in its two competing suitors: Michael Ball
as Bunthorne and Kevin Burdette as Grosvenor. Both sing beautifully,
both are comic athletes, and both are capable of evoking real people
out of egregious exaggeration . . . We keep thinking, "Too
much, too much," and then Mr. Ball and Mr. Burdette appear
and charm the pants off us." -New York Times
was Kevin Burdette . . . his performance was a tour de force of
vocal splendor and comic timing." -San Francisco
whole cast acted admirably, starting with American Kevin Burdette
in the role of Osmin, who has one of the best bass voices heard
in some time. His was the star performance, but the rest weren't
far behind." -El Clarín (Argentina)
as many rubbery moves as Jim
Carrey, Kevin Burdette
had a field day as Mustafá . . . his singing had an irresistable
panache." -Opera News
Kevin Burdette arrived as the devilish Nick Shadow, who brings news
that a forgotten uncle has left Tom a fortune. Bent on claiming
Tom's soul, Shadow offers to show him the ways of the world in London,
and Mr. Burdette, singing with earthy power and flair, was slyly
demonical." The New York Times
Burdette's droll, long-suffering Siroco nearly stole the show. His
rich bass was firm and sonorous, and he dominated the stage, whether
in madcap motion or simply arching an eyebrow in response to his
colleagues' doings." -Opera News
Burdette, he of the marvelously plummy bass, stole the show as a
hilarious Bottom, the ass for whom Tytania briefly falls."
Fe Opera's Maharaja] was matched at every step in the latter by
bass Kevin Burdette as Mr. Scattergood, with comic timing as sharp
and a more robust voice." -Washington Post
Kevin Burdette showed off a gorgeous Verdi voice." -New Jersey
was strikingly obvious that the best of the lot was bass Kevin Burdette
as Grosvenor. His instrument is rich and polished, especially in
the lower register." -New York Sun
real star of the evening, however, was the Papageno, Kevin Burdette.
He has a large powerful voice with a burnished robust sound and
excellent German. His bright, vibrant personality pervaded the entire
theater, especially when he entered from behind the audience. His
interpretation gave us an idea of what Schikaneders performances
must have been like." -Opera Today
robust bass Kevin Burdette makes a sex-crazed and manic viceroy.
In this breakout performance Mr. Burdette emerges as the Robin Williams
of opera. When he first appears in disguise, he wears a skimpy bathing
suit and matching shirt, with tall boots and a swim cap that covers
his eyes. He looks like some bizarre Latino Spider-Man. When he
comes on to the three cousins, his roughhousing turns aggressive.
Yet this lends complexity to Mr. Burdettes portrayal: the
Viceroy is so daffy, he is a little dangerous.
[In a video
sequence] Mr. Burdette, a natural camera hog, gives another brilliant
comic turn. -New York Times
a singer a good half-century too young to be Pasquale walks away
with the show. With a bass-baritone of some grit
and carrying power, and sporting a gray fright wig and a bird's
nest of a beard, Kevin Burdette proves a natural comedian, balancing
broad schtick and subtle behavioral touches with the wink-wink nudge-nudge
strain of self-parody that ripples through the production."
Burdette as the American millionaire Mr. Scattergood plays the role
brilliantly for pure farce. His second act patter song, bewailing
the banality of bourgeois life and its incumbent frustrating technology,
is one of the highlights." -Albuquerque Journal
Kevin Burdette was the most impressive stage presence. He balanced
a manic gift for physical comedy with solid singing, making the
role of Mustafá, the hapless Bey of Algiers, almost pathetically
absurd. He gained no sympathy for his character, and stole the show
in the process." -Washington Post
mortals included a strong ensemble . . . which fielded the evenings
standout performance in Kevin Burdettes excellent Bottom,
sung with resonance and acted with skillfully calibrated comic sensibility."
Burdette proves an audience favorite as the Sergeant of Police.
Burdette has clearly been studying at the Groucho Marx School of
Ballet, which seems just right for the policeman's lot in this Penzance."
Burdette, a young bass, was excellent as the King's astrologer."
Burdette gave a rich, varied vocal performance as Death and the
Loudspeaker, possessing an expressive physicality worthy of a silent
comedian" -Opera News
the demonic Nick Shadow, Kevin Burdette had a commanding baritone
juxtaposed against dramatic points effectively made with glances,
nuances, and a restrained physical vocabulary." -Philadelphia
good was Kevin Burdette, whose high, baritonal bass was free of
wooliness and clearly projected . . . "The people that [walked]
in darkness" had real impact while "The trumpet shall
sound" rose to glory on his strong declamation in tandem with
Mark Ridenour's shining trumpet solo." -Chicago Tribune
rubber-limbed stalwart Kevin Burdette was perfectly cast as the
timid Sergeant of Police." -Opera News
the Ogre, Kevin Burdette used his sonorous bass expressively, mimicking
the puppet's lumbering physicality and increasing wooziness."
only happens, however, after the ogre (Kevin Burdette, whose bass
must still be reverberating in the hall) has intoned a song with
the cunning lyric 'Here's to the man who drinks to get drunker.'"
good [is] Kevin Burdette, as antic and elastic as
Lewis yet never missing a note." -New
impressive was Kevin Burdette as her father, Mr. Scattergood; Burdette's
finely judged timing and precise characterization contrasted amusingly
with his deep bass." -Opera News
Mr. Scattergood, Kevin Burdette is displaying one of the best physical
comedy performances since Dick Van Dyke reigned supreme. All loose
limbs, and with shameless deadpan timing, Mr. Burdette is such an
excellent comic actor, you almost forget how beautifully he is singing,
in a robust, immensely satisfying baritone." -Opera Today
Burdette proved to be the man of the hour, revealing a bass voice
of good quality combined
with impeccable interpretation to give life to Osmin, a role that
makes a lot of demand on the low register. The North American bass
delivered his two arias with excellent vocal resources and stylistic
precision." -Tiempo de Música
Burdette stood out as a creaky yet intellectually vigorous Don Alfonso,
delivering lines with the wit and wide range of timbre one should
expect from this worldly-wise but not yet world-weary character.
" -American Record Guide
king's astrologer, Siroco (a particularly lively, droll Kevin Burdette),
gives the operetta its title as he manipulates the plot" -Variety
Burdette, endowed with a beautiful, round bass voice, plays a lively
Burdette's Mustafa provided the house with endless laughter."
Burdette exudes power as menacing Minos." -Financial Times
bass-baritone Kevin Burdette was excellent as Osmin." -Ambito
Financiero (Buenos Aires)
York City Opera's jokey and brightly colored version
of Gilbert and Sullivan's 'Patience' has the distinct virtues of
Michael Ball and Kevin Burdette in key roles." -New York Times
most remarkable puppet was the boozing Ogre, charismatically rendered
by the bass Kevin Burdette. That monster first appeared through
his individual gnarly body parts, which swirled around the stage
before assembling into a suitably grotesque creation." New
there is such a thing as comedic gravity, bass Kevin Burdette has
it. His Dr. Bartolo was not the fat, pompous snob and buffoon that
one often sees in the role. Instead, he was a rail-thin, loose-jointed
fop with almost cartoon-like villainy and wildly animated comedic
gestures. Frankly, Burdette possesses a theatrical ability rarely
found on the opera stage. When coupled with his incredibly solid,
rich bass, it sets him apart as a performer with an exciting future."
-Knoxville Metro Pulse
spectacular was Kevin Burdette in the role of Nick Shadow, i.e.,
Old Nick, the Devil, whose ruin of Tom is easy work. Seldom has
the Devil come across with such suavity and charisma, and with such
nice vocal heft". -Princeton Packet
singing and acting terrifically as Death ... [was] joined by a solid
cast." Boston Herald
role of Osmin was portrayed in a novel way - not large and overbearing,
but wiry and insidious - by the bass-baritone
Kevin Burdette, whose musicality and solid, colorful timbre made
it possible to be both funny and moving, but whose greatest merit
was centered in the gravity and intonation of his voice." -La
Kevin Burdette brought a voice of imperial steel to the Emperor
Claudius" -Montreal Gazette
cast is anchored by an impressively deft performance from Kevin
Burdette as Death and the Loudspeaker." Boston Globe
Kevin Burdette was sonorous and unyielding as the Priest
until the orgy, when Guarino equated his flagellation with the Villagers
excesses." -Opera News
Burdette gave a nimble performance, playing Don Alfonso as a kind
of sleazy emeritus womanizer, as if Giovanni had returned from hell
to open a consulting business." Boston Globe
Burdette's resounding bass brought emotional depth to the Priest's
Burdette ... proved to be as fine a singer as he is a comedian."
- Buenos Aires Herald
singers were well chosen for strong voices and excellent English
diction. Leading the cast was New York bass Kevin Burdette as Death.
This guy really knows how to slither and prance and jump all over
the stage; yet he was most poignant when, at the end, he lies down.
His ringing voice is both vigorous and sonorous. At times he looked
devilishly like John Waters which reinforced the iconoclastic
finger he (figuratively) kept giving us." -The Boston Phoenix
and Sullivan's tart sendup of Victorian aesthetes gets psychedelic
treatment . . . Michael Ball and Kevin Burdette are worth the trip."
-New York Times
the vain Grosvenor, company favorite Kevin Burdette effectively
countered with his slinky stage presence and whiplash bass - which
is essential, since the milkmaid Patience is forced to choose between
them. The two danced winningly in the patter number 'When I go out
the door,' in which Grosvenor resolves to lose his fancy airs."
-New York Newsday
Burdette's Sergeant of Police is another clear favorite, and the
numbers with his cowardly cohorts - smoothly choreographed by Lynne
Hockney - are highlights." -Backstage
. . the singer with the greatest spark is Kevin Burdette in the
relatively minor role of Masetto."
-New York Daily News
Burdettes Popolani (with the mullet, the stache, the
cheap-o white sneakers) somehow stole every scene he was in with
his goofy William
Macy loser persona and explosive Jim Carrey physicality."
so much going on -- with plenty of other characters sent in by Central
Casting -- that it's no surprise an Elvis
impersonator officiates at a wedding. He's one of several leather-clad
guises taken on by the excellent bass Kevin Burdette." -Albany
Burdette, as Mustafà, turned in a highly physical portrayal
full of inventive energy and resonant singing." -Seattle Times
[Burdette's] comic moves were amazingly flexible and very funny,
and his singing suited his growing importance very well." -Ithaca
Woodley and Kevin Burdette were both impressive bassos, the scene
between these assassins and Hvorostovsky the best by far in the
entire evening." -ConcertoNet
conspirators were sung with unusual distinction by basses Arthur
Woodley and Kevin Burdette." -Associated Press
words came tripping gaily from [among others] Kevin Burdette, whose
Grosvenor was richly inflected and handsomely sung."
Burdette brought high spirits and a booming
bass to the role of Masetto." -New Yorker
Ball and Kevin Burdette are the elegant, musically apt, and hilarious
center of Tazewell Thompsons witty staging of this Gilbert
and Sullivan classic." -Village Voice
Burdette portrayed Bottom with an agile bass and good-hearted pomposity."
-Chicago Sun Times
Burdette, as the Chief of Police, seems to be part charmed snake.
Not only does he create a singular and energetic presence, he moves
with comic, undulating grace." -NYTheatre.com
cast . . . was uniformly strong, especially the manic and intense
Mr. Burdette." -Wall Street Journal
Burdette was a stand out, with his smooth bass singing voice, charismatic,
charming, and droll stage presence, and very funny impressions of
and John Kerry. He really cracked up the crowd during the skit How
to Fixate Medicare. -theater2K
Bunthorne and Grosvenor . . . Jeffrey Lentz and Kevin Burdette were
as nifty on their feet as they were adept in their singing."
-New York Times
surprise was Kevin Burdette's Osmin, because of his vocal quality."
second half featured a brilliant song and dance routine by Lentz
and Burdette, who are surely two of the finest singing actors ever
paired on the Glimmerglass stage. Their comic timing throughout
the show was marvelous, too, and Burdette delivered his "Fable
of the Magnet and the Churn" with style." -Schenectady
Burdette briefly contributed a warm bass as a notary and played
synthesizer, slide whistle and Jew's harp at the edge of the Dock
Street Theatre stage, adding to the vaudeville atmosphere."
Gilbert and Sullivan
operetta reaches its high point when Lentz and Burdette pull out
the stops on the narcissistic characters . . . [they] could not
be in finer form" -Syracuse Post Standard
bass Kevin Burdette was a sarcastic and calculating Scattergood."
New York Times
poet, Archibald, eventually arrives on the scene. He's played by
bass Kevin Burdette, who gives the best singing of the night . .
. And the best number of the night comes late in Act II when the
two poets race through a dancing vocal duet." -Albany Times
their characterizations of the poet Bunthorne and his arch-rival
Grosvenor, tenor Jeffrey Lentz and bass Kevin Burdette gave wonderfully
true-to-form performances, with skilled voices that made their singing
the difficult numbers seem effortless. A highlight of the show in
both musical and dramatic terms was their Act II dialogue and duet
("When I Go Out of Door"), that also featured the best
dance number of the piece." -Metroland Newsweekly
richness of bass Kevin Burdette's Claudius lent a paternal austerity
to the show without allowing his performance to become wholesome.
Burdette brought a nice dose of sleaze in his role as Caesar, lending
believability to the rejection of his numerous advances and proving
that it's not always good to be the king." -McGill Daily
his Opera Grand Rapids debut, Kevin Burdette, a long, lanky bass,
made a quick-thinking Figaro, humorously working his way out of
fixes, but delivering serious singing in such arias as 'Se vuol
ballare'." -Grand Rapids Press
Burdette, finally, plays Claudius with ease and not without majesty."
the young cast [was] the Siroco of Kevin Burdette, looking like
a handsome version of Boris
Karloff's Mummy, manically darting about the stage."
this found its fullest form (and force) in a galvanic central performance
by Kevin Burdette as Death (combined in this version with the associated
role of "The Loudspeaker"). Burdette is blessed with both
a commanding bass and hilarious comic chops, and in this dazzlingly
manic tour de force, he seemed at times to all but personify
the opera." Thomas Garvey, The Hub Review
Burdette applied his solemn bass and rubber-legged dance steps to
the role of Siroco, the king's astrologer." New York Newsday
if youre of the opinion that sitting through an entire G&S
showno matter how well doneis tiresome, the performances
delivered by Ball and co-star Kevin Burdette as Reginald Bunthorne/Archibald
Grosvenor could make a believer out of you." -NEXT Magazine
de Merlin' also includes texts that would have been set to the music
of popular songs of the day, for satiric effect. Spoleto had Kevin
Burdette (who sang the small role of the Notary and looked blissfully
demented) accompanying those moments with sappy hymn-like tunes
on an electric keyboard." -Wall Street Journal
of Alice in Wonderland and the March Hare have excellent box seats
in which to view a Sergeant of Police who seems to have been transferred
to the force from the Liza Minelli Division of the Ministry of Silly
Walks . . . . are both terrific fun, as is Kevin Burdette's bursts
of giddy strutting as the otherwise cowardly Sergeant of Police."
Burdette really captivated in the role of the alchemist-factotum
Popolani. Costumed as a lowlife whose fashion clock was stopped
in 1973, his alternately manic-vegetative performance possessed,
or perhaps was possessed by, the spirit of true anarchy." -The
Burdette (Minos) triumphed over the spastic, shell-shocked persona
devised for him with his dark, sturdy voice and customary dignity"
"Even Bottom had an edge. Mr. Burdette gave his overwhelming,
bumptious self-confidence an aggressive force, and he played his
first "rehearsal" scenes as Pyramus brandishing a phallic
sword between his legs . . . Standouts among the rustics . .
. were Mr. Burdette's gawky, thrusting Bottom." -Wall Street
a dessert, lets save the surprise for last. Kevin Burdette,
the lithe and supple bass from Tennessee. His timing is sharp as
a rifle crack. With legs as long as Hugh
Jackmans, he bounces around like the tin man after Dorothy
oiled his joints. His commanding bass voice just takes over the
stage. My pacemaker shorted-out when I saw the ticket price of $120,
but by Jupiter, by George, by Jingo, Burdette makes it worth every
the clean, baritonal attack of Kevin Burdette felt just right as
Masetto. Burdette acted the part terrifically, giving Masetto sharp
intelligence and a well-toned sense of
irony to counter his volatile temper." -Washington
Ball and Kevin Burdette are dazzling as rival poets" -Village
Burdette [as Leporello]: Wow, what a package he is -- an actor personified,
and a true-blue bass that's wonderfully deep but not too dark. Each
time he was up, he topped his previous number. Articulation, projection,
rapid-fire enunciations, and some thrilling rolled Rs left nothing
to be desired." -Oak Ridger
sung by Kevin Burdette, is perfect. His flexible bass is as authoritative
as you would expect that of the Grim Reaper to be, but he is also
convincing in farcical, ruminative and doubt-filled moments. His
antic behavior and plastic facial expressions are wonderfully demented."
-Berkshire Fine Arts
Kevin Burdette possesses a heroic smile and a supple bass voice
that gleams with equal appeal as the rival poet Grosvenor."
-Newark Star Ledger
Burdette contributed an Osmin who knew how to emphasize the comic
aspect of his character without turning it into a farce." -Opera
Burdette's dark bass suited Minos' music well." -Classics
Burdette, who plays Death, is definitively the man to watch. In
addition to his powerhouse bass, his indomitable stage presence
makes Death the most interesting and dynamic character throughout.
Death and the Emperor's final scene together is the most moving
moment of the show, and though it lasts only a few minutes, the
skill with which the actors handle the timing makes it feel as though
the time stretches to keep the Emperor alive for just a little longer."
-Brandeis University's The Justice
bass Kevin Burdette became an imposing Claudius . . . " -Toronto
Globe and Mail
the larger of these two roles, Arsamene's servant Elviro, bass-baritone
Kevin Burdette brings buffo to the baroque as he attempts to impose
sanity on his wayward superiors. Mr. Burdette's booming voice and
impeccable diction are crucial to the endeavor. On the other hand,
Mr. Burdette is not afraid to camp it up in the wobbly falsetto
in Act II as he prances about the stage disguised as a flower girl."
Burdette is hilarious as the astrologer Siroco. He does a bizarre
dance with a wedding cake attached to one hand, worthy of Groucho's
Captain Spalding; and in a drunken duet, he and [King Ouf] walk
off with the show." -Rochester City Newspaper
Burdette rose and let forth the most magnificent bass
voice ever heard by this reviewer. His range was solid from
the bottom to the top. Burdette has a great stage presence to go
along with his magnificent sound. His voice rocked the walls of
this large auditorium . . . there was no limit to the strength and
power of this voice. Every word was clear and pure. Burdette's physical
presence is astounding. He shows himself to be at ease in front
of an audience and is in command of the stage every moment he is
performing . . . Burdette used his technique and skills in both
speed and delivery to highlight his musical skills." -Midland