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Dr.
Schön
LULU
Berg |
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BARTOK:
Herzog Blaubart's Burg / Blaubart
Münster Opera—June
1996 (with Katherine Ciesinski as Judith)
"David Pittman-Jennings was a muscle-flexing Bluebeard
with an impressive bass-baritone voice—a singer-actor
who can fill the stage by himself alone".
Andreas Weitkamp
Münsterische Zeitung
June 27, 1996 |
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BERG:
Lulu / Dr. Schön
Vlaamse Opera (with Constance
Hauman as Lulu)
"One is overwhelmed by the extraordinary David
Pittman-Jennings, whose metallic vocal timbre seems
unalterable as Dr. Schön and which continues
in his presentation as Jack".
Claude Glayman
Opera International
March 1999 |
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Wozzeck
WOZZECK
Berg |
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BERG: Wozzeck / Wozzeck
Teatro Colon, Buenos Aires—March,
April 1995
Spoletto Festival, Charleston—May
1997
Teatro Municipal, Santiago
Di Chile—April 2000
Montreal Symphony Orchestra,
Montreal (concert)—May 2002
Teatro Colon, Buenos Aires—December
2002
"David Pittman-Jennings, for his part,
is the ideal Wozzeck, stupendous singer and first-class
actor, and possibly the best sung that we remember,
including on the stages of Hamburg , Rome and Vienna".
Armando M. Rapallo
Clarin (Buenos Aires)
March 30, 1995
"A magnificent protagonist,
on the mark, communicative with a beautiful voice,
and a pronounced dramatic abandon, was offered by
David Pittman-Jennings who realized with absolute
legitimacy a success of the same proportions. Few
artists have today the capacity to achieve these
dimensions".
Alberto Emilio Giminez
Buenos Aires Herald
March 30, 1995
"As Wozzeck, the American
baritone David Pittman-Jennings was making his U.S.
debut following a distinguished career in Europe
that included principal roles at the Vienna and
Berlin state Opera houses, as well as performances
in Hamburg , Munich and Paris. His was a Wozzeck
lost in dreams and fantasy, his voice one of great
power and beauty".
Robert Jones
The Post And Courrier, Charleston
June 10, 1997
"David Pittman-Jennings
was an ideal Wozzeck. Vocally impeccable, his acting
as the tortured soldier seems to be unsurpassed
today".
Tom Rosenthal
Opera Now
October 2000
"We were fortunate in
the selection of the principal protagonist. With
ample experience in this role, the North American
baritone David Pittman- Jennings, a strong voice
coupled with a wonderful technique, traced a solid
portrait of the diverse psychological facets of
this complex and human private soldier, avoiding
overacting".
Victor Manuel Munoz
La Segunda, Santiago di Chile
May 19, 2000
"David Pittman-Jennings
was a realistic Franz Wozzeck: a poor devil subjected
to medical experiments, with traumas of a soldier,
with basic instincts of a man struggling between
blindness and ignorance. The singer not only drew
a clear profile of a soldier who finally kills his
wife and then drowns himself, but also achieves
a vocal interpretation equal to the challenge of
the role in every way".
Claudia Ramirez Hein
La Tercera, Santiago di Chile
May 19, 2000 |
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Balstrode
PETER GRIMES
Britten |
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BRITTEN:
Peter Grimes / Balstrode
Teatro Carlo Felice—Genoa
(directed by Willy Decker)
"Equally admirable, the Balstrode
of the baritone David Pittman-Jennings, a formidable
voice and presence".
Stephen Hastings
La Repubblica
October 17, 1997
"All of the singers
were celebrated. David Pittman-Jennings was a faultless
Balstrode".
Robert Iovino
La Stampa
October 17, 1997 |
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DALLlAPICCOlA:
Il Prigioniero / the Prisoner
CARNEGIE HALL, New York
(w / Montreal Symphony Orchestra)— October,
1999
Montreal Symphony Orchestra,
Montreal—October 1999 (directed by Charles
Dutoit)
Theatre Chatelet, Paris—April
1992 (conducted by Esa-Pekka Salonen)
"The hope in Pittman-Jennings'
voice was heartbreakingly palpable. The performance
was superb. It's hard to believe this was Pittman-Jennings'
Carnegie Hall debut. He is an extremely charismatic
American performer, who since the late-70's has
carved out a successful career for himself across
the Atlantic, where he recently performed Rigoletto
in Leipzig as well as the title role in Milhaud's
CHRISTOPHE COLOMB in Berlin and he can be heard
as Moses in Pierre Boulez's DG recording of MOSES
AND ARON. Pittman-Jennings' riveting presence, buttressed
by a remarkable range of expression, can conjure
up a whole world".
Robert Hilferty
Opera News
February 1999 |
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"David Pittman-Jennings, an American of focused
tone and eloquent line, made a sympathetic case
for the Prisoner of the title, who seeks throughout
the opera to transform his despair into hope, only
to face a tragic end".
Arthur Kaptainis
The Montreal Gazette
October 6, 1999 |
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"One must say that David Pittman-Jennings assumes
the role of the Prisoner with authority and magnificent
intensity. His brilliant singing makes one forget
that he passes the majority of the opera bending
and hanging from a vertical rope-ladder".
Jacques-Emmanuel Fousnaquer
Opera International
May 1992 |
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DEBUSSY:
Pelleas et Melisande / Golaud |
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Cincinnati
Opera Summer Festival
(conducted by Stephane Deneve)
"At
the center of the drama stood David Pittman-Jennings's
powerfully tragic Golaud, richly detailed in characterization,
with a wide variety of vocal color and dynamics".
Charles H. Parsons
Opera News
November 2000
"David Pittman-Jennings
captured Golaud's torment admirably. He grew old
noticeably over time, evolving from somewhat distant
to agitated, suspicious and finally violent".
Janelle Gelfand
The Cincinnati Enquirer
July 16, 2000 |
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General
WELCOME TO THE RIVER
Henze |
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HENZE:
We Come To The River / General
Hamburg Staatsoper—October
2001
(Musical Director—Ingo Metzmacher)
"For the General he enlisted the American David
Pittman-Jennings who has practically corned the
European market in anguished, self-hating baritone
roles, and is here superbly musical and plangent".
David Murray
Financial Times
October 1, 2001
"Vocally and dramatically
fabulously successful, the outstanding David Pittman-Jennings
as the General".
Frankfurter Allgemeine
September 25, 2001
"In every respect magnificent—the baritone
David Pittman-Jennings".
Joachim Mischke
Hamburger Abendblatt
September 25, 2001
"The General—David
Pittman-Jennings—vocally and dramatically outstanding".
Joachim Misschke
Der Tagesspiegel (Berlin)
September 27, 2001
"David Pittman-Jennings
gave his all as the General— not only vocally;
his desperate inner strife, the expressive protests,
were deeply entrenched".
Goetz Thieme
Stuttgarter Zeitung
September 26, 2001
"Only baritone
David Pittman-Jennings manages, with his intense
performance of the General, to rise above the polished
boredom of the evening. Pittman-Jennings ignores
the scenic province around him, showing with bravado
singing and intelligent acting, in summary, with
great theatrical sensitivity, what remains to be
discovered in Henze's piece".
Uwe Friedrich
Bayerischer Rundfunk
September 24, 2001
"David Pittman-Jennings
can draw the role of the General with his distinguished
lyrically-controlled baritone, so strongly profiled
and believable that he, on the stark realism of
the stage appears like a light in the darkness".
Elisabeth Richter
Kieler Nachrichten
September 24, 2001 |
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HINDEMITH: Mathis
Der Maler / Mathis
Radio Philharmonic Orchestra
(Concertgebouw, Amsterdam)
"With this intense role and his lyrical
and supple baritone, David Pittman-Jennings rendered
a truly magnificent evocation of this Mathis...".
S. Bloemgarten
NRC Handelsblad
November 1992 |
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JANACEK:
Cunning Little Vixen / Forester
Vlaamse Oper (Directed
by Robert Carsen)
"David Pittman-Jennings proved as the Forester
that besides his magnificent acting, he can also
sing beautifully and powerfully—and even after
singing so many Berg and Schoenberg performances".
Jan Neckers
Orpheus International
August 2001
"David Pittman-Jennings'
Forester is an ideally-attuned counterpoint to the
Vixen, a personality of an artful peasant of sharp
contrasts, not relying solely on the ease of his
powerful singing but with all of the inexhaustible
resources for which he is well known".
Opera International
August 2001
"The Forester of David
Pittman-Jennings is portrayed with musicality and
a reassuring vocal health".
Christophe Vetter
Concertonet
May 2001 |
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KRENEK:
Karl V / Karl V
Beethovenhalle, Bonn
Kölner Philharmonie
(Concertante)
"In the principal role
of Karl, the American baritone shined. With great
expressive power he embodied the contradictory character
of the Kaiser, and mastered this marathon role with
high concentration and clarity of text".
Rainer Weber
Bonner Rundschau
October 16, 2000
Recording / MDG Label
"With wonderful singing
from David Pittman-Jennings as Karl V".
Erik Levi
BBC Music Magazine
December 2001 |
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MENDELSSOHN:
Elias / Elias
Flanders Philharmonic Orchestra
(directed by Frank Shipway)
"...the concert was the highlight
of the Festival 1992. The American baritone David
Pittman-Jennings sang the sizable part of the prophet
Elias by heart, and moreover in German rather than
in the English version! He has remarkable expressiveness
and presence. He is an excellent successor to Jose
Van Dam".
Mirek Cerny
De Standaard
September 1992 |
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MILHAUD:
Christophe Colomb / Christopher Columbus
Berlin Staatsoper (Directed
by Peter Greenaway)
"In the crushing title role we find David Pittman-Jennings
and his great baritone. With a voice of thunder,
definite musicality and deeply dramatic, this singer
will make an impressive Wotan".
Thomas Simon
Concertonet
November 1999 |
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PUCCINI:
La Boheme / Marcello
Teatro Maestranza (Directed
by Franco Zeffirelli)
"Singing perfectly with a voice of a special
mellow color, the baritone David Pittman-Jennings
offered a Marcello of absolute quality".
El Diario Vasco
February 5, 1995
"Of the Marcello
of David Pittman-Jennings, one must say that he
has a large voice with a beautiful timbre and performed
very well on stage, applying his lyric qualities
in addition".
El Correo
February 5, 1995
PUCCINI: Madame
Butterfly / Sharpless
International Maifestspiele Wiesbaden—1995
(with Eleane Coelho as Madame Butterfly)
"Seldom is the role
of the Consul Sharpless as significantly cast as
with the American baritone. Already with his round,
humanly warm, radiant and dynamically flexible voice
alone, he wins the sympathy of the listener. Of
equal interest his no less moving, dramatic portrayal,
completely without clichés. The Sharpless
of David Pittman-Jennings becomes, because of this,
a comfortable central character".
Helmut Hampel
Wiesbadener Kurrier
May 22, 1995
PUCCINI: Tosca / Scarpia
Torre Del Lago (Puccini
Festival)—July 2001
La Plata, Buenos Aires—October
2000 (with Ines Salazar as Tosca)
Arena Di Verona—July
1998
Opera Du Rhin—May
1995
"Applause for Daniela Longhi (Tosca) and Ignacio
Encinas (Cavaradossi), but especially for a demonic
Scarpia portrayed by David Pittman-Jennings".
La Nazione
July 24, 2001
"Very noteworthy the portrayal
by David Pittman-Jennings, a professionally exemplary
Scarpia with perfect diction".
Marcello De Angelis
Il Giornale Della Toscana
July 24, 2001
"The best portrayal
was David Pittman-Jennings, known at the Teatro
Colon for his notable Wozzeck. The American has
a sonorous voice, sings with fine line and acts
with command and precision".
Pablo Bardin
Buenos Aires Herald
November 7, 2000
"By far the best
protagonist of the evening was the baritone David
Pittman-Jennings in his personification of the cynical
and authoritarian Baron Scarpia".
Abel Lopez Iturbe
Arte-Ocio Espectaculous
November 2000
"Closing the passionate
triangle the baritone David Pittman-Jennings. He
captured the audience with his powerful and convincing
dramatic acting in the role of the evil Scarpia,
also offering experience and vocal security".
Hoy
November 7, 2000
"...David Pittman-Jennings as Baron Scarpia.
Vocally solid and very complete in his acting, the
baritone created a profile which was very respectable".
Edouardo Giorella
El Dia
November 8, 2000
"Scarpia sung by
David Pittman-Jennings is the great musical and
dramatic personality of this production. He was
an outstanding Scarpia".
Frederico Monjeau
Clarin
November 7, 2000 |
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Moses
MOSES UND ARON
Schoenberg |
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SCHOENBERG:
Moses Und Aron / Moses
Amsterdam Opera—October
1995 (Conducted by Pierre Boulez)
Salzburg Festival—August
1996 (Conducted by Pierre Boulez)
Chicago Symphony Orchestra,
Chicago & Berlin—June 1999
(Conducted by Pierre Boulez)
"These two roles, (Moses and Aron), in a large
and excellent cast, were superbly taken by David
Pittman-Jennings, a powerful and anguished Moses,
and the tenor Chris Merritt, a slickly eloquent
TV evangelist of an Aron".
David Stevens
Herald Tribune
October 11, 1995
"Moses, the tongue-tied prophet unable to express
inexpressible divinity, is restricted to a kind
of spoken speech, which was declared with powerful
authority by the American baritone David Pittman-Jennings".
Mark Swed
Wall Street Journal
October 1995
"The Opera is aided by the superb casting of
the central roles. In the predominantly spoken—or
rather Sprechgesungen—role of Moses, David
Pittman-Jennings was a figure both commanding and
bowed with anxieties and doubt. His descent from
the mountain—here a mechanical lift—and
shattering of the tablets was a great 'coup de theatre',
and his confrontations with Aron were enthralling".
Hugh Canning
The Sunday Times (London)
October 15, 1995
"Aron was opposed
magnificently in the spoken role of Moses, acted
with incredible force by David Pittman-Jennings".
Jacques Doucelin
Le Figaro (France)
October 8, 1995
"David Pittman-Jennings
plays magnificently the role of Moses, painfully
violent, and projects a voice sonorous and smooth".
Renaud Machart
Le Monde
October 14, 1995
"Both David Pittman-Jennings'
Moses and Chris Merritt's Aron were fully realized
performances that reflected the singers' long stage
experience in these roles. Pittman-Jennings declaimed
his baritonal speech-song with grave intensity".
John Von Rhein
Chicago Tribune
March 26, 1999
"Forcefully carved by David Pittman-Jennings,
Moses was a badgering, demanding ultimately alienated
patriarch. The opening conversation between Moses
and God was beautifully realized by Pittman-Jennings
and the chorus".
Wynne Delacoma
Chicago Sun Times March 25, 1999
(Of the recording by Deutsche Grammaphone) "The
soloists were all admirable, with no weak links.
Pittman-Jennings is a properly prophetic Moses,
grand of voice".
Gramophone Magazine
October 1996 |
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Arabella
(Kiri Te Kanawa)
& Mandryka
ARABELLA
R. Strauss |
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R. STRAUSS:
Arabella / Mandryka
Vienna StaatsOper (with
Kiri Te Kanawa)
StaatsOper Dresden (with
Felicity Lott)
SANTE FE Opera Festival
(with Janice Watson)
"Beside her (Kiri Te Kanawa) a remarkable debutante
at the Wiener Staatsoper—David Pittman-Jennings—a
Mandryka with the clumsy mannerisms prescribed by
the libretto, gifted with a powerful baritone voice
that he uses with daredevil verve, and candor even
in the most delicate passages...he bestowed on the
public, a most magnificent presence".
William Sinkovicz
Die Presse
May 1992 |
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"David Pittman-Jennings—the new Mandryka
from the USA—fit very well in this production.
His acting was rather on the conservative side,
but he was vocally convincing—through his
solid cultured timbre and stamina, while his dark
colored baritone appeared even richer in the higher
ranges of his voice".
Gerhard Boehm
DRESDNER NEUESTE NACHRICHTEN
January 17, 1994 |
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"David Pittman-Jennings
was for the jovial Mandryka precisely the right
choice and he sang with an outstandingly beautiful,
lyrically strong baritone voice, an elegant man
of the world".
Jeffrey Smith
Orpheus International
December 1997
" The baritone David
Pittman-Jennings in the role of world-weary Mandryka,
brought a riveting Richard Dreyfus-like intensity
to his pursuit of Arabella".
Anthony Tommasini
New York Times July 30, 1997
"As Mandryka,
the man who mysteriously appears and ultimately
wins her heart, David Pittman-Jennings sang with
a big, rich baritone".
Scott Cantrell
Houston Chronicle
August 12, 1997
" As Mandryka, Arabella's
long-awaited Mr. Right, baritone David Pittman-Jennings
was a whirlwind of vocal and dramatic energy, in
a performance that was arresting".
Joshua Kosman
San Francisco Chronicle
August 4, 1997
"David Pittman-Jennings
was solid as Arabella's rich but rustic suitor Mandryka".
Heidi Waleson
The Wall Street Journal
August 7, 1997 |
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R. STRAUSS: Elektra / Oreste |
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Opera de Bordeaux
(with Elisabeth Connell as Elektra)
"Oreste
was David Pittman-Jennings, who in the meantime
has enormously matured vocally, and who after the
Hollander, will also sing Wotan".
Orpheus International
June 2001 |
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Jochana’an
SALOME
R. Strauss |
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STRAUSS: Salome
/ Jochana'an
Oper Der Stadt Bonn—July
1993 (a Ken Russel production)
Deutsche Staatsoper Berlin—September
1996 (with Inge Nielson)
Deutsche Staatsoper Berlin—March
1998 (with Inge Nielson)
Leipzig Oper—December
2001 (with Janice Baird)
"David Pittman-Jennings in his violent
enlightenment gives an incredible Baptist".
Peter Korfmacher
Leipziger Volkszeitung
December 13, 2001
"As the prophet
Jochana'an, David Pittman-Jennings adorned his character
with helden baritonal brilliance".
Michael Struck-Schloen
Kolner Stadt Unzeiger
March 18, 1998
"David Pittman-Jennings
sang Jochana'an with a true voice of thunder, powerful
in its baritonal brilliance".
Michael Lehnert
Das Opernglas
July / August 1993 |
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TIPPET:
King Priam / King Priam
Vlaamse Oper (directed
by Tom Cairns)
"David
Pittman-Jennings is again an impressive Priam and
puts the different aspects of the character in convincing
contrast. He sings the challenging role outstandingly,
with his round, full and concise baritone".
Erna Metdepenninghen
De Standaard
May 6, 1996
"At the head, David Pittman-Jennings,
a poignant Priam, and an excellent baritone in addition,
with a decisive and stable voice".
Jean Lucas
Opera International
May 1996 |
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VERDI:
La Traviata / Germont
Frankfurt Oper—1992
Dresden Oper—1993
Theatre Chatelet, Paris—1993
Theatre Municipal, Sao
Paulo—1996
Hamburg Opera—2002
"Praises to the Italian soprano Giussy Devinu
and to the North American baritone David Pittman-Jennings".
O Estado de Sao Paolo
November 1996
"Ms. Devinu shares the stage with two soloists
of equally impeccable lyricism and grand theatrical
presence, the Italian tenor Roberto Aronica and
the North American baritone David Pittman-Jennings
(Giogio Germont)".
Joao Batista Natali
Folha de Sao Paulo
November 20, 1996
"And once again he sang, aristocratic - phenomenal:
the American cavalier baritone David Pittman-Jennings.
Imposing physical size, vocally a giant as Giorgio
Germont, he was the greatest success of the evening".
Rolfe Heron
Frankfurter Allgemeine ZEITUNG
February 1992
VERDI: Rigoletto / Rigoletto
Leipzig Opera—April
1999
Deutsche Oper Berlin—March
2002
"David Pittman-Jennings was convincing above
all with his elegantly produced, beautifully timbered
bass-baritone, giving an important portrayal of
this role".
Bernd Hoppe
Orpheus International
July 1999
VERDI: Un Ballo In Maschera / Renato
Bayerische Staatsoper Munich
(with Julia Varady as Amelia)
Frankfurt
Opera (with Helen Doese as Amelia)
"For the ill Wolfgang Brendel sang on short
notice, the American Verdi-baritone David Pittman-Jennings
as Graf Anckarstrom (Renato). He was visually
as well as vocally, in fact, the ideal replacement.
Those who didn't know that the baritone appeared
on such short notice would have hardly known".
Christine Lemke
Sued Deutsche Zeitung
July 25, 1994 |
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Rigoletto
RIGOLETTO
Verdi |
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"David Pittman-Jennings sang magnificently
and with power the role of Renato"
Andreas Skipis
Frankfurter Allgemeine
October 18, 1992 |
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Vincent
Van Gough
UN MALHEUREUX VETU
DE NOIR
Jan Van Vlijmen |
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JAN VAN VLIJMEN:
Un Malheureux Vetu De Noir /
Vincent Van Gough
Holland Festival, Amsterdam
(directed by Axel Manthey)
"The palm of honor went to the American
baritone David Pittman-Jennings, who is only a few
years familiar with the German repertoire of Wagner-Strauss-Berg
in which repertoire Van Vlijmen fits perfectly.
He carries the whole Opera in a very intense way
with a sharp profile".
NRC Handelsblad (Amsterdam)
November 1990
"David Pittman-Jennings
moved freely in the role of Vincent Van Gogh, and
with his impressive baritone succeeded in setting
down the tormented painter in a fully credible manner,
as an actor as well as a singer".
Erik Besler
Trouw (Amsterdam)
November 1990 |
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WAGNER:
Fliegender Hollander / Dutchman
Lille Opera—April
1998 (Orchestre National de Lille)
"David Pittman-Jennings, a notably intelligent
artist, commanded the attention. He discovered anguished
subtleties in the Dutchman's music, which is more
often just loudly declaimed".
David Murray
Financial Times
April 9, 1998
WAGNER: Das Liebesverbot
/ Friedrich
Teatro Massimo, Palermo
(Directed by Filippo Sanjust)
"David Pittman-Jennings in the role of
the lustful Friedrich, the enemy of pleasure, presented
an attractive stage figure and a particularly beautiful
and down-right instrumentally-produced bass-baritone.
He made a lot out of this otherwise static role,
and infatuated precisely by means of his virile
voice".
Geerd Heinsen
Orpheus Magazine
August 1991
WAGNER: Parsifal / Klingsor
Teatro Liceu, Barcelona—April
2000
(Placido Domingo as Parsifal)
Scottish Opera—March
2000
Deutsche Staatsoper—Berlin
2001
"David
Pittman-Jennings as Klingsor had a brilliant timbre,
and knew how to convey an evil style".
Albert Villadell
El Mundo
April 4, 2000
"David Pittman-Jennings
was a Klingsor sung and expressed with good resources
and suitably cruel accents".
Pau Nadal
El Pais
April 10, 2000
"In place of Klingsor's magic
garden, Purcarete presents a realm of crimson artifice
in stark contrast to the blue grey austerity of
the Knight's domain. Here the pagan necromancer—a
Gary Oldman as Dracula look—alike, was David
Pittman-Jennings's unforgettable incarnation".
Hugh Canning
Sunday Times (London)
March 5, 2000
WAGNER: Tristan Und Isolde
/ Kurwenal
Orchestre Philharmonique de Strasbourg
(with Gabriele Schnaut as Isolde)
Palais de la Musique,
Strasbourg—March 6, 1994 (Concert)
Opera de Montpellier,
Montpellier—March 3, 1993 (Concert)
"David Pittman-Jennings
brings to Kurwenal a strong baritone voice, secure
and round, and a very theatrical performance".
Max Kaufmann
L'Est Républican (Strasbourg)
March 11, 1994
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ZENDER:
Don Quijote de la Mancha / Don Quijote
Stuttgart Oper (directed
by Axel Manthey)
"The role of Don Quijote appeared to be an
enormously taxing role. American David Pittman-Jennings
drew astonishing nuances of color and expression
from his seamless baritone".
Horst Koegler
Opera News
January 1994
"The title role of the Knight of the Sad Countenance
appeared precisely tailor—made for David Pittman-Jennings.
He mastered with bravura all the forms of expression
that Zender and Manthey demanded of him. Dramatically
as well as vocally he left no wish unfulfilled".
JM Wienecke
Das Opernglas
December 1993 |
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